BALAFO See marimba.
BALALAΟKA Plucked Strings. Russia. A guitar with a long triangular-shaped body. The strings are of cat-gut, and there are three frets on. the long neck. When played, it is held by the neck with the left hand, which hand also stops the strings, while the melody is plucked with the right. The body of the balalaοka remains poised without further support. A family consists of bass, tenor, and alto. It is the guitar of the Russian peasant, and is used by the Cossacks and gypsies.
BANDAR or BENDYR Vibrating Membranes. Africa. An Algerian hand drum, having a circular frame, with skin stretched over at least one end.
BANDOLA, BANDORA See pandore.
BANDURRIA Plucked Strings. Spain. A Spanish guitar with a shallow oval body, and a neck furnished with twelve frets. Its strings of gut or wire are attached to a bridge, and the sound-hole is sometimes elaborate. Another distinguishing feature is the flat head.
BANJO Plucked Strings. America. Said to have been invented by a negro plantation hand from a cheese-box, although this is not an established fact. The instrument is strictly American, and foreigners are little familiar with it. Prominent makers at first considered that it was unworthy to be called a musical instrument. It had a smooth neck, and the strings could merely be strummed with a metal thimble or the player's forefinger. It is now greatly improved as to quality and quantity of tone, has a fretted finger-board, and a carefully shaped neck. Its generally improved dimensions and outlines invite rapid and accurate execution. The banjo is a circular hoop, covered on the upper side by a tightly stretched parchment or skin, and has from five to nine strings. The left thumb plucks the melody string, which is the shortest., and lies next to the lowest bass.
BANYA, BONYA Vibrating Membranes. India. A small wooden kettle drum with heads of skin, braced with strips of skin upon the sides.
BARREL ORGAN Wind, with automatic mechanism. Europe. An organ in which a cylinder or barrel of wood or metal, studded with pins or pegs, when caused to revolve opens a series of valves connected with a bellows, thus admitting a current of air to a set of pipes, and producing a tune either in melody or harmony. The entire mechanism is contained in a case which may be either plain or very elaborate. In rural churches a barrel organ was sometimes used when a pipe organ was not available, and for these a case was frequently designed having rows of horn metal pipes. The usual instrument has several barrels to give variety.
In a pamphlet published by E. and H. Hodson, Lon-don, 1812, is contained a lengthy description of a machine or barrel organ of heroic dimensions which was invented and constructed by a Mr. Cumming for the Earl of Bute, its completion occurring in 1787. The organ possessed sixty-four barrels, capable of giving from four to twelve selections each, these selections being of both classical and popular nature. A number of the barrels were repeating barrels, i. e., upon their return the number would be played in an inverted order. The pamphlet is loud in its praise of the organ, and notes among its exceptional merits the method by which the barrels were kept in motion. Large buckets served as weights, and moved up and down alternately, one bucket being filled with water as it approached the highest point on its upward journey, when its increased weight caused it to descend, forcing upward the other bucket, which meanwhile had been relieved of its contents. This winding in no way interfered with the music, and obviated unpleasant intermissions during an evening's entertainment. Furthermore, the barrels could be placed in another room, all mundane matters being thus removed from the sight of the listeners. The organ came into public notice, and the Russian ambassador tried in vain to have a similar instrument constructed for the Russian empress.
The smaller barrel organs were and are used by street mendicants, and with the introduction of the harmonium and the American organ, they were displaced in the churches.
BARYTON, VIOLA DI BORDONE Bowed Strings. Europe. A viola da gamba fitted with sympathetic strings varying in number from seven to forty-four, and six or seven gut melody strings. These were tuned similarly to those of the viola da gamba, and passed over a bridge of unusual shape. The lowest sympathetic string was generally tuned in E. These strings were in a separate metal frame, and passed over an independent bridge. It may be said in passing that, although sympathetic strings are usually looked upon as an English adaptation, the baryton enjoyed great popularity in Germany, where it was frequently a household treasure.
The name viola di bordone may have been derived from " bourdon," meaning drone, and referring to the sympathetic strings. Another story has it that the instrument was the idea of an English prisoner under sentence of hanging, who, at the last moment for his invention, was granted " pardon," or, as changed by alien tongues, " bar-done." This instrument was greatly liked by Prince Ester-hazy, for whose pleasure Haydn wrote several pieces for baryton performance. According to Pohl, he composed no less than one hundred and seventy-five of these, and many lesser composers have written for it. J. J. Stadlmann, 1732, was a renowned maker of barytons. The instrument was a later form of the viola bastarda, after many changes had been introduced, one being the addition of one melody string, giving the baryton seven.
BASS CITHER See bijuga cither.
BASS DRUM Vibrating Membranes. Europe. This large drum was doubtless brought from Asia to Europe. In England at one time it appeared with a cylinder longer in proportion to the diameter; now the reverse is the prevailing condition. The two skin heads are each stretched over a smaller hoop, and held in place by a larger one. The tension is generally regulated by an endless cord passing around the drum in zigzag course from top to bottom, and tightened with leather braces which slip over the loops. Screws, or endless cord and pulleys, are also used in tightening. The bass drum is played with two rather large sticks, one smaller than the other. A roll is at times produced with a stick having a knob at each end, and held in the middle by the performer, who in striking alternates the knobs. No fixed notes are possible, and the principal function is to mark time in conjunction with the cymbals, which are used by the same person.
BASS HORN, BASSOON RUSSE Cup Mouthpiece. Europe. During the latter part of the Eighteenth Century an attempt was made to improve the serpent, which resulted in an instrument called the bass horn. The conical tube was either of wood and brass, or of brass alone, and was doubled upon itself to allow the player to reach the finger-holes, which numbered six. Three or more extra holes were covered with keys. See serpent.
BASS VIOL -- See violoncello.
BASSET HORN Single-Beating Reed. Europe. An alto or tenor clarinet in F, which is becoming obsolete. It is being superseded by an alto clarinet in E flat, in use in the military bands. The basset horn, or cornet di bassetto, has a construction much the same as that of the ordinary clarinet, and the fingering is identical. The increased length requires, for the convenience of the player, that the tube be curved, this being done in different ways. The pitch can be lowered four semitones by means of keys that do not appear on other clarinets. The tone possesses dignity, and gives rather a somber effect in the lower register. The compass is from the second F below middle C to C', the instrument transposing a fifth. In appearance the basset horn differs from the other clarinets in having a small metal bell. Mozart favored it and an especially fine example of its use is in his great " Requiem; " also in his " La Clemenza di Tito," and in Beethoven's " Prometheus."
BASSOON - Double-Beating Reed. Europe. This is one improvement upon the ancient bombards accredited to Afranio, a canon of Ferrara in 1539. The English and French names refer to its position in the orchestra as the bass of the wood-winds. The German word fagott, and the Italian fagotto, are derived from a slight resemblance which it bears to a bundle of fagots. The tube is conical, and owing to its length, it doubles upon itself with a butt joint. It is provided with a brass crook or staple holding the double-beating reed, which is taken immediately into the mouth of the player.
The bassoon is in the key of G major, but extra keys carry it lower down to B flat, two octaves below middle C; A flat above middle C is the highest note, though modern instruments are able to sound a number of notes higher. Rapid passages are not effective in all keys, but in variety of employment it exceeds all of the other wind instruments, with the exception of the clarinet. For lower and medium notes, the bassoon is treated in the F clef, but the higher notes are found in the tenor clef.
Its use began, doubtless, with Cambert in " Pomone," in 1671. Handel used it infrequently, but an especially good example is in his " Saul." Bach avails himself of the bassoon very often, and sometimes in a prominent place, as in the great B minor mass. Haydn gave it a place in his military symphony, and in " Creation." However, in Mozart's time the bassoon appeared in earnest, and it was elevated to the place of a favorite with Beethoven, who employed it with great skill in his symphonies and other works, and who used also a double bassoon in the duet of Leonore and Rocco as they dig the grave of Florestan in " Fidelio."
BASSOON QUINTE Double-Beating Reed. Italy. A fifth higher than the ordinary bassoon, and a transposing instrument. See bassoon.
BASSOON RUSSE See bass horn.
BATELLUS See gotchnag.
BATSU or HATSU Sonorous Substances. Japan. Metal discs with broad flat edges, and a large boss in the center of each. See cymbals.
BAZ Vibrating Membranes. Turkey. This drum, used by the dervishes, has a bowl-shaped shell, usually of metal. The heads of skin are generally stretched over small projecting metal spikes.
BE See n'gom.
BEGGAR'S LYRE The hurdy gurdy.
BELL Sonorous Substances. These instruments consist of a metal cup or bowl and are caused to sound by the blow of a clapper or hammer which strikes either the inner or the outer surface. The bell may be fixed and the hammer alone movable, being propelled by some force from without, or the clapper may be fastened within the bell, so that when the bell is swung the clapper, because of its lighter weight, will be carried far enough out of its perpendicular position to strike the sides of the bell.
The origin of the bell is prehistoric and its noisy character has caused it to be used in many capacities. The Jewish high priest wears them upon his gown in order that he may be heard throughout the temple. The church bell in its tower dates from early Christianity. Sleigh-bells, cow-bells, and dinner bells, are forms in common and practical use today.
Bell metal is made of a mixture of copper and tin and the larger and heavier the bell and the denser the metal of which it is composed, the deeper will be the sound produced. C, an octave below middle C, can be given by a bell weighing twenty-two and a half tons, but for middle C, a bell weighing only three tons is needed. It is interesting to note that the cost of a bell like the first mentioned would be about $18,000, while the cost of the second bell would be $2,400. The largest bell in the world ever hung is that in the Kremlin at Moscow, weighing over 247 tons.
When in the theatre the effect of a church bell is de-sired, a heavy bronze bell is sometimes struck by a hammer, although within an inclosure the effect of a bell ringing in the open can be produced by striking steel bars.
BENDYR See bandar.
BENT Plucked Strings. Egypt. A small, light, Egyptian instrument, rather more like a lute than a lyre. One string or two are stretched over a board or a stick, and twanged with the fingers.
BIBLE REGAL Beating Reeds. Europe. A case in book form, containing a bellows at the back of the keyboard. The bellows inflated by lifting, supplied wind to the instrument. Immediately behind the keyboard was a set of pipes furnished with beating reeds. The keyboard was folded in the middle and could be placed within the bellows case, and in this form carried under the arm. One hand was needed to operate the bellows, but the grosses bible regal had pedals to supply the wind. The instrument was very popular in the home. Regal is Old German for organ. The bible regal belongs to the Seventeenth Century.
BIJUGA CITHER Plucked Strings. Europe. Also called the bass cither. It derived the name bijuga from its double neck, that is, its two peg boxes, the farther one of which enabled the bass strings to be longer. Like the theorbo, the bass strings did not pass over the finger-board. It was especially popular in England in the Sixteenth and Seventeenth Centuries. See theorbo.
BIWA Plucked Strings. Japan. An instrument having a pear-shaped body tapering to a neck furnished with pegs for fastening the strings. The entire length of the instrument is about thirty-five inches and the width of the body not quite a third of the length. The strings, three or four in number, are of silk and are plucked with a plectrum.
BIZUG Vibrating Membranes. Syria. A tamboura with a long neck.
BOAT HARP See pochette.
BOMBARDON Cup Mouthpiece. Europe. The name is now given to the bass of the tubas in E flat, B2 flat, B flat and C. The bombardon is circular, passing over the performer's head, with the bell directed upwards. It is the most prominent of the tubas. Those in E flat and B2 flat are used in brass bands. See tuba.
BOMBARDON Double-Beating Reed. Europe. Formerly the name was applied to an instrument of the pommer family. It was the largest member, and was capable of reaching F8. It was in one length, without a bend except the usual pommer hook. Its high compass was more limited than that of the bassoon. See pommer.
BONES Sonorous Substances. Europe. Four pieces of the ribs of horses or oxen held in the hand, and struck together for the purpose of marking time in accompaniment to the voice or another instrument. Bones are of ancient use in England, and are alluded to by Shakespeare in the fourth act of "A Midsummer Night's Dream," as forming one means of rustic music. In figures described by Inigo Jones for the court masques, a character is represented playing upon the knicky-knackers of bone or wood. The term " knicky-knackers " used by the country folk may have had its origin in the name " Nakerer," for in Strutt's Sports and Pastimes a payment is recorded as being made to Janino C. Nakerer, one of the minstrels of Edward II. The minstrels frequently indulged in burlesque music, and Janino may have performed upon the bones.
A rude instrument composed of several bones hung on a cord and played by rubbing with a stick was formerly used in Madeira to accompany the guitar. The name refers to castanets at times.
BONYA --- See banya.
BOWED ZITHER Or STREICH-ZITHER Bowed Strings.
Europe. As the name signifies, a form of zither played with a bow. The resonance box is heart-shaped and has a fretted finger-board across it. There are four strings, tuned like those of the violin. The instrument may be played as the zither proper. It is made in three sizes ; treble, alto and bass. Because it lacks volume of tone, the streich-zither is quite unimportant. See zither.
Box FIDDLE See trapezoid fiddle.
BUCCINA Cup Mouthpiece. Ancient Rome. This was one of the instruments used by the Roman army. It was doubtless used by the infantry as distinguished from the lituus used by the cavalry. The bore was cylindrical, gradually expanding into a bell. The tube was curved to nearly a circle with the bell resting upon the shoulder of the player. The instrument is found depicted in many bas-reliefs of the period and during the excavations at Pompeii, an instrument resembling the representations, was found. It is now exhibited at the National Museum at Naples although a copy is to be found at the Metropolitan Museum of Art. It was pitched at the second G above middle C. See lituus.
BUDBUDIKI Vibrating Membranes. India. A hand drum used by snake charmers, mendicants, etc., and resembling an hour-glass. A string having a small ball of leather or cork on the end is attached to the center and when the instrument is shaken, this alternately strikes each head. It is sometimes used in worship, when groups of five or six are shaken incessantly by relays of performers.
BUGAKU-BIWA -- Plucked Strings. Japan. A massive instrument with a pear-shaped body, formerly played on horseback. When the performer sits upon the floor, the lower edge rests upon it between his knees. Its four strings are plucked with a plectrum. The side of the instrument is called the sea-shore.
BUGLE Cup Mouthpiece. Europe. This in its original, simple form was the signaling instrument of the infantry. The tube is shorter and more conical than that of the trumpet. Brass or copper is used for its construction, and it has a small bell. Formerly the bugle was in most instances pitched in C, and had a crook for B flat, but now it is tuned in B flat and transposed, as the music is still written in C. The harmonics are produced either by keys or valves. The Kent bugle, so called in honor of the Duke of Kent, is merely the keyed bugle. Bugles have been made small enough to be carried in the pocket and yet useful in giving calls.
BUKKEHORN or PRILLARHORN Cup Mouthpiece. Europe. An early attempt to apply side holes to a cup mouthpiece instrument. It is a native of Norway, and is generally made of horn. In Virdung's famous work (1511) there is an illustration of an instrument of this description, although it is here called a krumhorn.
BUNI Plucked Strings. Egypt. A harp in which the hollow sound-box of wood is covered with parchment, beneath which are stretched the strings attached to the central bar. The strings are tuned ordinarily by means of cords twisted around the bar and ornamented with tassels. It is played sometimes lying upon the ground and sometimes resting upon the shoulder.
BYAKUSHI Soronous Substances. Japan. Nine long, tablet-shaped pieces of hard wood, strung together and used as clappers. The byakushi is occasionally made of bamboo.
