Escolar Documentos
Profissional Documentos
Cultura Documentos
1956
ATHANASIUS KIRCHER,
MUSURGIA UNIVERSALIS (ROME, 1650 ):
THE SECTION ON MUSICAL INSTRUMENTS
PREFACE
The task of translating the section on musical
instruments from Musurgia universalis was undertaken in the
hope that it would provide a useful addition to the readily
available original sources on the history of instruments.
It
I have pointed
brackets.
iii
TABLE OF CONTENTS
Page
Ori- Transginal lation
P R E F A C E ........................................
ii
INTRODUCTION ....................................
xvi
Athanasius Kircher
........................
xvi
xix
xix
xxii
xxii
xxxv
xxxv
The T r a n s l a t i o n ............................
xxxvi
STRINGED I N S T R U M E N T S ............
452
Chapter I.
I.
II.
453
. 454
3
&
3
iv
B III.
10
456
15
16
. 456
17
jiT IV.]
. 457
20
V.]
. 45&
24
S VII.
[VIII.]
jT [iX'l
JT [X.]
33
35
37
3#
41
Chapter II.
I.
27
. 463
. 465
465
32
42
. 476
29
476
44
47
II.
The C i t t e r n
49
50
51
52
54
56
V i o l s ............................ 466
66
4 B6
67
The Psaltery
495
72
496
75
496
75
PART III.WIND I N S T R U M E N T S
ChapterI.
Some A s s u m p t i o n s .................
Chapter II.
J I.
JT II.
&2
The F l a g e o l e t
499
64
. 500
#6
. 502
503
91
95
503
96
.
Consequences
The difference between the
trombone and thecommontrumpet
if IV.
vi
505
77
79
99
Chapter III.
C I.
II.
J5 III.
PART IV.
The
.
.
102
506
103
. 507
104
PERCUSSION I N S T R U M E N T S
Chapter I.
506
106
107
113
114
117
117
US
119
123
126
129
515
130
. 515
131
. 51#
135
513
519
137
137
Chapter II.
139
The
520
141
The
143
The
. 521
145
The
. 522
147
150
155
156
159
Chapter III.
viii
153
154
. 526
161
529
163
APPENDIX A.
APPENDIX B.
166
BIBLIOGRAPHIES
........................................
170
. 170
. 170
ix
.
.
.
.
.
.
171
TABLE OF PLATES
Page
Plate V. The Harpsichord F a m i l y ....................... 6
Figure I. Harpsichord
II. Clavicytherium
III. Spinettino
Plate VI. K e y b o a r d s .................................. 14
Keyboard I. The keyboard widely used in musical
instruments, showing the arrangement
of one octave of thirteen keys
II. The imperfect keyboard, arranged in
another manner
III. A keyboard combining the two preceding
ones, with seventeen keys
IV. A keyboard with nineteen keys, arranged
in another manner according to the three
genera
V. A diatonic-chromatic-enharmonic keyboard
arranged in another manner by
transposition
VI. A diatonic-chromatic-enharmonic keyboard
with twenty-seven keys
VII. Another diatonic-chromatic-enharmonic
keyboard, an octave of which has
thirty-two keys
Plate VII. Plucked Stringed Instruments
Figure I.
II.
III.
IIII.
V.
VI.
VII.
VIII.
IX.
4^
Violone
Kit
Viola da gamba
Violin or viola
Lira da gamba
Hurdy-gurdy
Marine trumpet
Galoubet
Flageolet
Recorder
Fife
(missing)
Cornett
Trumpet
(missing)
Trombone
Diagram of the proportions of vox humana
pipes
Pattern for shallots
Block of reed pipe
Reed
Reed
Reed
Reed
Smallest vox humana pipe
Largest vox humana pipe
Bassoon reed, dolcian, bassoon, two
hunting horns
TABLE OF FIGURES
Page
Ori- Transginal lation
The triharmonic keyboard of Doni
459
25
. 461
31
496
SO
. 499
64
Ser pent
505
101
506
102
A flue p i p e ....................................
507
105
506
106
510
112
511
116
117
516
136
X y l o p h o n e ..................................... 519
13 S
520
142
144
524
151
526
156
xii
................
xiii
527
529
157
162
TABLE OF TABLES
Page
Ori- Transginal lation
Synopsis of Stringed Instruments
453
455
11
22
460
30
464
40
516
133
521
144
.522
xiv
52$
146
160
. 466
44
4 B0
5S
. 462
60
. 463
61
. 464
62
. 464
64
. 465
64
. 465
65
. 465
65
. 467
71
500
SB
69
97
504
xv
INTRODUCTION
Athanasius Kircher!
The author of Musurgia universalis was born on May
2, 1602 (or 1601; reference works disagree on the year, as on
several of the dates of Kircherfs life) at Geisa, a small
town in the district of Fulda, in central Germany.
He
He taught
In 1630, after
Hebrew.
The following year Kircher made a hasty departure
from Wurzburg ahead of the Swedish armies under Gustavus
Adolphus, quitting Germany for good, and staying first in
Lyons, then in Avignon.
30), 16$0 .
It would be out of place here to present more than
a short summary of KircherTs extremely wide-ranging
activities.
In the study of
He published
He carried on an extensive
Kircher as Musician
In the second Preface to Musurgia universalis.2
Kircher feels compelled to explain why he considers himself
qualified to write on music:
I hear, among other things, that this
objection is made to me: "How can the author have
the audacity, since he is not a musician by
profession, to undertake to correct and emend
masters in the art, brought up in it almost from
the cradle, and what is uppermost, to place himself
as master over them, with more audacity than
modesty?" To these I answer that I am certainly
not and have never been a musician by profession,
since it is a calling not appropriate to my re
ligion; nevertheless people will not condemn me as
2. Rome, 1650, unnumbered page xxi, at the beginning of
Volume I.
xix
instruments which Eitner3 says appears in manuscript partbooks in the Brussels Conservatory.
So far as is known, no
We will see,
In the second
The
Chapter II,
These headings
Fetis, however,
mentions6 that he has seen more than thirty copies, and all
had
in the State
The copy
It is
The title
one earlier precedent for the use of the word musurgia in his
title, the Musurgia seu praxis musicae of Ottomar Luscinius
(Strassburg, 1536).
The Musurgia is a comprehensive presentation of the
musical knowledge of Kirchers time.
It includes material on
He is passionately eager to
It
It is
Among those
J. S.
Bach may have been acquainted with it, although a lack of any
documentary evidence hardly justifies Wanda Landowskas
statement that he held it in high esteem.9
It should be
it is not necessary to
say that it must have begun with the amazing voice of this
animal."
Book II.
"Philological.
Artificial sound or
"Arithmetical.
An extensive introduction on
"Geometrical.
"Symphonurgic.
The book is
(For their
A large proportion of
The
About
no
"Diacritical. _Antiquo-modern
Its authenticity,
The
As with the
Kircher*s classification
Book VIII.
"Miraculous Musicology.
A new
Part I.
Rhythm; meter.
Part III.
Robert Haas, Die Musik des Barocks (Handbuch der Musikwissenschaft), Wildpark-fotsdam, Athenaion, 1928, p^ 116;
Paul Henry Lang, Music in Western Civilization. New York,
W. W. Norton, 1940, pp. 430, 434-440; Manfred Bukofzer, Music
^-n thQ Baroque Era, New York, W. W. Norton, 1947, pp. 390W 3 W a l t e r Serauky, "Affektenlehre," Die Musik in Geschichte
und Gegenwart, Vol. I, Kassel, Barenrefter, 1949^951,' cols.
TTT-T2T
xxxii
Part I.
The
Strangely,
"Decachord of Nature.
Or organ of ten
17. For an account, see Albert Protz, Mechanische Musikinstrumente, Kassel, Barenreiter, 1939, pp. 67-75.
IS. See Curt Sachs, Reallexikon der Musikinstrumente, Berlin,
Julius Bard, 1913, p. 435.
!9. Ibid., p. 16.
xxx iv
Phonurgia nova
The last work of Kircher containing material of
musical interest is
Athanasii Kircheri/e soc. Jesu./Phonurgia/nova/sive/
Conjugium Mechanico-physicum/artis & naturae/. . ./
Campidonae [Kempten)/Per Rudolphum Dreherr. Anno
M.DC.LXXIII.
[44J, 229, [l$] pp.
A second edition from 16$3 is sometimes mentioned; as in the
case of Musurgia, Eitner20 lists only one edition, and the
second may be spurious or the first with a new title page.
A German translation by Agathos Carione (pseudonym of Tobias
20. Loc. cit.
xxxv
[6],
Book I
It
The more
Although it is difficult
The
Often he offers a
In
They have
In Part
In general,
the following changes have been made: bar lines have been
supplied where missing, or changed to conform with the meter;
note values have frequently been halved or quartered; obvious
errata have been corrected, and the corrections noted, except
for those appearing in the errata list of the publication
itself; a few variants from Mersenne have been included;
modern clefs and time signatures have been supplied
throughout.
xl
1
THE GREAT ART OF CONSONANCE AND DISSONANCE
BOOK SIX
INSTRUMENTAL MUSIC
Each of these is to be
2
nothing, as I said, was easier for musically inclined men, on
being taught by this experience, than finally to invent
instruments of every sort.
this work.
What I accomplished by
3
Part II
STRINGED INSTRUMENTS
We can consider in this place the five-fold
classification of stringed instruments.
There
4
hairs and rubbed with rosin; these include viols of all
types.
The
fivefold
classi
fication
of
stringed
instru
ments.
such
as
r lutes
such
as
such
as
f harpsichords
| clavichords
spinets
theorbos
c pandoras
" viols of
all sorts
k citterns
r harps
such
as
psalteries
such
as
5
Chapter I
The Structure of Keyboard Instruments^*In the first class we nave placed those instruments
that make use of keyooards.
[clavicymbala") because
Three
We will
jri
The Construction of Harpsichords
Harpsichords are made in various ways.
The most
7
ACYX the keyboard, ZZ and LL the two rows of tuning pins,
around which the strings of brass or steel are turned with a
little hammer.
space of the jacks, QR, fitted with quill plectra; when these
are raised by pressure on the keys, the strings are caused to
sound.
$
use, ooth as harps and as harpsichords.
sr a
The Arrangement of the Keyboard, its
~~Verv Great Variety, ana its "Use
The keyboard or clavier, or, as the Italians call
it,
tastatura, is nothing
other than a
musical system
When
9
bending oi the bristle by whicn the tongue is nela in place,
returns with the lightest motion to a position beneath the
string, ready to strike the string with a new jump.
So much
Here at
Some
10
it is the keyboard of such an instrument that Figure I of
this plate represents.
This
11
adding new ones to the simple keyboard.
10. The figures are from Mersenne, as are all the diagrams
and figures in Plate VI. The figures are arbitrary ones,
representing the length of string which would produce each
pitch on a monochord whose total length is divided into 36 OO
parts.
(The F# is corrected from the original, where it
reads 2692.) The naturals form a just scale, and the notes
corresponding to black keys are all sharps except Bb.
Kircher*s designations for the various semitones are faulty,
and have been emended here, and in the text below, on the
basis of MersenneTs list (Cogitata Physico-mathematica,
Paris, Antoine Bertier, 1644, P* 3 4 7 ) . In order of increasing size, they are minor semitone, 25:24; medium semitone,
135:128; major semitone, 16:15; maximum semitone, 27:25.
A useful discussion of the terminology and calculation of
these and other intervals of the just system is found in the
article "Intervals" by LI. S. Lloyd in Groves Dictionary,
Fifth Edition, London, Macmillan, 1954, Vol. TV, p p . 519-524.
The names of the intervals between E and F, A and Bt?, and B
and C are missing in the original. The clef has been changed
12
They represent these notes by the thirteen keys of
the keyboard, of which eight are white and five black.
On
Here you
see that the first octave of the keyboard, which begins with
G sol fa ut (as do all the rest also), contains thirteen
keys, eight white ones marked with the letters CDEFGA^C,^--1and five black ones marked with the letters c#, d#, f#, g#,
and b*.
t w o ^
The
13
Therefore, in place of
I will
From D to
14
15
Then
minor sixth above, nor does D with Bb, which differs from
B1920 by a medium semitone, and Bb does not have a minor
sixth or third below.
ded with no difficulty that not all the consonances exist nor
can they all be obtained in an octave divided into twelve
unequal semitones, that is, one made up of thirteen keys.
A Keyboard, of the Second Type. One
~Octave of which has Thirteen Keys
Now if one thought to fill out all the defects of
two major semitones; they are in the ratio of 16:15, one
major semitone. Kircher*s major tone and minor tone are the
two values of the tone that appear in the just scale, 9:8 and
10:9 respectively. The former is equal to a minor plus a
maximum semitone, the latter to a minor plus a major semitone.
14. Further errors: D to A is smaller than a just fifth by
the ratio SO:Si, a syntonic comma; E to A is, of course, a
just fourth, F to A a just major third.
16
17
4 III
A Keyboard of Nineteen Keys
But since nothing is wholly blessed, and this
keyboard is still found to be defective in many respects, and
since in it B has a major third above, while F has a minor
and F# a major third {belowj, D
above it.19
harmonic perfection.
IS
found from C to the third key Db, which makes a minor diesis
with the second key C#, just as the latter23 makes a major
diesis with the third key D, and these two dieses taken
together make one major semitone.24
19
20
Iff17 ]
Keyboard VI, with Twentv-s eyen Keys
Now we will take up another diatonic-chromaticenharmonic keyboard, one octave of which has twenty-seven
keys.
Whatever lies
Plate VI}, and is laid out with such ingenuity that wherever
one begins, one can always build a complete harmonic cycle.29
The larger Roman numerals written on each key indicate the
order of keys on the keyboard.3
21
suitable for playing than this last keyboard, and for this
reason I am led to discuss it more fully than the others.
For better clarification, we will show the whole system here
by means of a table in which we will indicate precisely the
intervals of each key with notes, their letter names, and
values.31
22
1 2
I
0
41
jr
<>
*p
C
72000
minor semitone
CIT
69120
enharmonic diesis
Db
67500
minor semitone
D
64600
major comma
D
64000
minor semitone
D#
61440
minor comma
Eb
60750
major comma
Eb
60000
minor semitone
E
57600
minor semitone
E#
55296
enharmonic diesis
54000
F
minor semitone
F#
51640
major comma
F#
51200
minor comma
Gb
50625
major comma
50000
Gb
subminimum semitone
46600
G
major comma
46000
G
minor semitone
G#
46060
enharmonic diesis
45000
Ab
minor semitone
43200
A
minor semitone
41472
A#
major comma
40960
A*r
minor comma
40500
Bb
major comma
40000
Bb
minor semitone
36400
B
minor semitone
B*
36664
enharmonic diesis
36000
G
23
e n h a r m o n i c . 32
Some of
24
Uv]
A Triharmonic Keyboard. Designed in Accordance with
the Ideas of the Ancients. Talten from Doni
Giovanni Battista Doni, a noted musician of our
time, proposes this keyboard in his little work on the genera
and the
modes.
34
two rows; the first row embodies the diatonic tones, the
#
25
26
27
Cm]
The Panharmonic Keyboard of Nicolo Vicentino
Nicolo Vicentino, in order to restore enharmonic
music, constructed an archieembalo^ made up of six key
boards.
harmonies on them.
The second
23
The
these matters.
29
jrvn
The Keyboard of Galeazzo SabbatiniAQ
The rare musician Galeazzo Sabbatini pursued these
matters at length and, venturing anew to apply the laws of
arithmetic to the three genera, discovered many more things,
of which mention is made in various places in this work.
Among other things, he designed a new keyboard containing
most accurately whatever can be desired in music, most
perfect for displaying all harmonies.
30
According
to Kircher
A
B bb
A#
Bb
C bb
A*
B
Cb
B#
Dbbb
C
D bb
C#
Db
C*
Ebbb
D
Ebb
D-#
Eb
D*
F bb
E
Fb
A
Aa
A*
Bb
BtM
A#*#
Etf
Gbbb
F
Gbb
F#Gb
A bbb
Ffi
G
A bb
Git
A b
GK
B bbb
A
tl
*7*
br#
kjaa
C
CA
c#
Db
C##
D*m
D
Da
D#
Eb
D##E b-A
E
E
E#
F<?a
F
F
F*f
Gb
GbA
F##
G
GA
Gtf
Ab
G##
Air*
A
Monochord
length
36364000
36000000
35389440
34560000
33750000
33554432
32763000
32000000
31457230
31250000
30720000
30000000
29491200
23800000
28311552
28125000
27648000
27000000
26214400
25600000
25165824
25000000
24576000
24000000
23592960
2343 7500
23040000
22500000
22118400
21600000
21093750
20971520
20480000
20000000
19660800
19200000
18874368
18750000
18432000
31
Diagram of the Keyboard
of Galeazzo Sabbatini42
32
33
34
35
IffVIIIJ
Method of Tuning an Instrument with
Seventeen Keys to the 6c'tave
Various methods of tuning an instrument are offered
by various authorities; see Mersenne for these.
We will give
36
37
Therefore
38
[jfix]
The Arrangement and Proportion of Strings in Harpsichords
There is no doubt that the strings of any
harpsichord must vary widely in length, if they are to
produce a perfect sound, althougn they could be made all of
the same thickness and length, and be perfectly tuned only by
increasing and decreasing the tension of each, as has been
fully demonstrated in the preceding sections.
Yet because
long experience has taught that, beside the fact that this
procedure is troublesome and difficult, it also produces
tones not a bit pleasing, but sounding quite dull and
strident.
See p. xxxiii.
39
But if
40
Table of the Proportion of Strings which Serve for
Constructing Harpsichords
I
II
III
IV
I
V
I
VI
Diatonic
Ratios of
Length of
Diameter of Chromatic
strings
the strings the strings the strings
strings
_________________________feet Iinches
C
1
10
5 0
1/5
---D
2
9
9
4
6
2/11
D*
E
3
6 15
4 0
4/25
F
4
T
15
3
9
4/27
F*
G
5
8 IF
3
4
2/15
G*
A
6 ^
9
3
0
1/8
Bb
B
7
8 IF
2
8
1/9
|
c
8
IF 15
2
6
1/10
c*
d
9 JL
2
3
1/12
dP
e
10
16
8
2
0
2/25
f
11
15 T
1
10 1/2
1/13
f*
g
12
IF
8
1 8
1/15
gif
a
13
9 ~7
1 6
1/17
bb
b
14
IF
8
1 4
1/19
c
15
15 I F
1
3
1/20
ctf*
d*
16
9
9
1
1 1/2
1/22
d*
e
17
8
IF
1 0
1/25
f'
18
15
11 1/4
1/27
f*
g
19
8 IF
10
1/30
g*
a*
20
9
9
1/33
bb*
b
21
6 IF
8
1/37
c"
22
IF
15
7 1/2
1/40
c*"
d"
23
9
6 3/4
1/45
d*"
e"
24
IF
8
6
1/50
f"
25
15 T
5 3/4
1/53
1
g"
26
IF
8
5
1/61
g#n
a"
27
9 T
4 1/2
1/67
bb"
b"
28
IF
8
4
1/74
c"' 29 15
3 3/41
1/60
c#"
two or three errors in Mersennes table; Kircher has multi
plied these many times, particularly in Columns III and V.
The table has been corrected on the basis of MersenneTs. In
preparing the table, Mersenne has made a serious and glaring
error, which makes the whole table quite worthless. For each
octave rise in pitch, he has halved both the string length
and the diameter. Halving either one, assuming equal tension,
would raise tne pitch an octave. Therefore, since tension
varies as the square of pitch, if one were to use Mersenne*s
figures, the tension would have to be divided by four for
41
Explanation and Use of the Table
(See the figure of a harpsichord illustrated in Plate V.)
This table has six columns:
I contains the notes which correspond to each
string and key.
II contains the number of each diatonic string,
which must be joined to the corresponding key.
III shows the ratios of the strings to each other.
IV indicates the length of the string.
V exhibits the diameter of each string represented
as fractions of the whole.55
VI contains the names of the chromatic strings that
correspond to the numbers appearing on the keyboard.
In order to use it, nothing else needs to be
demonstrated but how to determine the various strings, both
the diatonic and chromatic ones, according to Columns IV and
V.
42
is one foot, one inch, and in Column V you will find that the
diameter of said string must be 1/22 that of the heaviest
string, i.e., if the diameter of the heaviest and largest
string of all be divided into twenty-two equal parts, the
strings d T and d #T must have a relative thickness of one
twenty-second.
rest.
But note that musicians are mostly not concerned
with such refinements.
But if
43
Most
We will
include one of this sort here, on ut, re, mi, fa, sol, la,
composed by Master Johann Jakob Froberger, Imperial Organist,
formerly a pupil of the most celebrated organist Girolamo
Frescobaldi.
44
Fantasy on Ut, Re, Mi, Fa, Sol. La, Suitable for Harpsichords
Chapter II
Lutes. Mandoras, and Citterns57
The next musical instruments to be described are
those that have, in place of a keyboard, a fingerboard with
several strings.
And
45
46
/
one.
The
it would seem deserving to snatch the palm away from the rest
of the instruments, since no instrument has a greater musical
47
jri
The Order. Location, and Tuning of the Strings
to be Fitted to the Lute
The lute and theorbo do not make use of metal
strings, but of strings made of the intestines of animals.
The relative length of the strings on a lute is the same, for
all are equal in length but different in thickness.
Also, all,
and so on
You will
second, the second a major tone from the third, the third
the
a
major semitone from the fourth, the fourth a major tone from
the fifth, the fifth a minor tone from the sixth, the sixth
to the seventh a fourth, the seventh to the eighth another
fourth, the eighth to the ninth a major third, the ninth to
the tenth a fourth, and finally the tenth to the eleventh
another fourth.
We have
utmost brevity.
50
These
the whole string from this fret into eighteen parts again,
and seventeen of these will give the third fret.
They
This method
51
This method
Book IV, I have seen fit to illustrate here only the list of
figures of division, together with the musical notes for
better understanding.^6
52
10 11 12 13
-o a
------
G#D
Dtf E
F# G
GT A
Bb B
Qo -1 'j -'j cn cn cn
00
c
o M
s
a
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o
tn
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'i
w
<o
#> w
gl
M
D
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CO
05
CO
05
c
o
i
t
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i
t
*
k
c
n
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o
oo co to to -o yi
W M tn M
Third Method
They
53
A # #5 r-c a
o f j rc> o -m
C# Db D
D# Eb E
t>0 > ^
321
F# G
G# A
Bb Bb B
M M O J M M O J M M P O M t O f O t O C O M M
o*ik
owMoooo'Ooii#p>j-<Qoo
( o - ^ o o a O c n W f r i o i Q
0J1i O
~J
8
o
(
i o O r o O O O O O O O O
C D < O C 0 0 3 0 3 C 3 3
t
* r \ 3 C O < 0 0 0 P 0 ~0 'J *,~-*'0->J01< 0C71
^ C 0 t O I - M l ' 3 0 l - * t - ,
O W - ' J l
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00
ro co co to
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01
m
M
C
M
Ratios
_ r> + - U ~
ox
une
8 inter
vals
cd
on Lengths
of the
* string
Then
with the others to the last fret, and you will have the
fingerboard of the lute divided with as much perfection as
anyone could desire in music.
But since this method is too laborious to be
applied by practical musicians, we will impart another method
here that depends on the division of the monochord described
in various ways in the preceding book, and is the one that
follows in Plate VII.
Fourth Method of Dividing the Strings68
68. The scale that results from Kircher*s procedure is a just
one like that of Keyboard III, Plate VI. If the whole string
sounded c, the frets would give the following pitches:
dt
>
c or p, d; o, ej>; n, e : m, f: 1, gb; k, g; i, ab; h, a; g,
Fb; f, b; and e, cT. Inexplicably, Kircher^ias given two
procedures for finding some of the frets; steps 3 and 4
54
1.
cjC
One of
fret k.
One of
Divide eA into two parts, and the midpoint will give the
desired fret m.
5.
One of these
Then if
7.
Seven frets will now be had, that give the seven tones
consonant with the octave, that is, , k, ra, n, h, o, and
i.
follows:
$. Divide AC into nine or ten equal parts.
If one tenth is
laid off, the second fret (cl will makea minor tone with
AC. If one ninth is laid off, it will give the fret ,
which will make a major tone.
9. Divide the space nA into two parts, and now the whole
string will be divided into tenths, and will be the
fret of a minor tone.
10. An eighth of the string divided in two will give two
sixteenths.
fret .
11. Divide C again into four parts, and the last will give
1, the sixth fret.
12. Divide C again into three parts.
There
56
You see,
courses of strings.
not played directly by the hand, like the lute, but with a
feather quill grasped between the thumb and index finger.
Figures V and VI of Plate VII illustrate the tuning of both.
The designs of the rest of the citterns together with their
tunings are shown by Figures IV, V, VI, VII, and VIII of
said plate, .v.^9
~ZjT
T) - '
m) &
3rT
For this
But so
But we
Example
59
60
61
62
Cantus I. Cittern
Cantus II. Lute
Altus. Lute
Tenor I. Theorbo
63
64
Example III.
Cantus. Cittern
Altus. Lute
Tenor I. Theorbo
Example IV.
Cantus. Cittern
Altus. Lute
Tenor. Theorbo
Bass. Harp
65
Example V.
Cantus. Cittern
Altus. Lute
Bassus. Theorbo
Example VI.
Cantus. Lute
Tenor. Theorbo
66
Viols
By viol is understood that instrument that consists
of belly and neck or fingerboard, and which is sounded with a
plectrum or bow made of horsehair, the left hand grasping the
neck, and its fingers pressing the strings directly.
But
Some
There is the
67
of this who has understood well the various divisions of the
monochord presented in the preceding book, as well as in
Chapter I of this part, on harpsichords.
But, so that I may pass on in synopsis what other
authors pursue thoroughly, I have seen fit to include here
pictures of each of the ones most generally used today,
together with their tunings, so that we will not seem to have
hidden anything from the reader.
it achieves
Its tuning is
68
69
The kit, Figure II, so called flinterculus=little
boat; cf. French pochette en bateau! from its shape like a
boat, is a small viol whose tuning is shown by the notes.75
Figure III is a six-stringed viol, somewhat longer
than the first viol;-it shows the greatest variety of
harmony.
Proportion
I
II
III
IV
V
VI
80
108
144
180
240
320
Notes
Names of strings
d
a
e
c
G
D
Canto, Cantarella
Sotana
Mezzana
Tenor
Bourdon
Basso
It has mostly
70
octaves.
V shows a picture of a lira [da gambal.
This has
It is an
when the strings are touched by pressing on its keys, you can
easily produce any tone you wish, by turning wheel S, which
rubs the strings and causes them to sound.
In a word, it is
But I will
71
Basso di Viola
72
The Psaltery
The psaltery, a stringed instrument, if played by a
skilled hand, is such that it would seem to bow to no other,
whether you consider the variety of its musical proportions
or the marked pleasance of its musical sound.
you see here, is triangular.
The shape, as
The second
73
And in order
74
The
75
Part III
WIND INSTRUMENTS
The wind instruments are all those instruments
which are sounded by the breath and wind.
Who
76
That
th e
m a te r ia l
o f
d iffe r e n t
p ip e s
77
For this
7$
Therefore the
made such things of all sorts of wood, and they are mostly
called
monauli^5
by the Greeks.
In the
first place after the monaulos are those that we call threehole flutes'36 from their three holes, four-hole from their
four holes, five-hole from their five, six-hole^7 from six.
$5. The monaulos and diaulos were double-reed instruments,
those with three or more pipes (panpipes) were end-blown
flutes.
$6. The galoubet or taborers pipe.
79
There are again the most diverse types of these, for they are
either stretched straight out, or curved in the manner of a
horn, or twisted into the appearance of a serpent, as it
appears in the
f i g u r e . ^8
There
JT I
The Galoubet
We will say nothing here of the monaulos, since its
relation to the other flutes provided with many holes is that
of the unison to the other consonances.
80
has its holes so arranged that two in front, and a third in
back governed by the thumb, suit the use and convenience of
the flutist.
But what sort of tones it produces, or where this
sort of flute turns in its ascent and descent, will be seen
as soon as we have explained the fingerings of the flutist.
Thus, if the flutist wishes to produce the first
note
holes and blow the flute gently, and he will have what he
sought.^9
(Note that black marks signify closed holes, white ones open.)
If he wishes
the second note, he will
close the two holes 1
and 2; if the third,
one, the first; for the
fourth, he will open all
the holes.
And he will
89. The actual sounds are probably an octave above the notes
indicated. The fingerings are copied from Mersenne. The
scale on oage 81 shows the notes corresponding to the lower
row of fingerings, which, however, are erroneous.
$1
the notes that follow after c, and will sound the fifth, that
is, the note g, with all the holes closed again, and blowing
more strongly.
All of this is
Then, if anyone
Why
82
Why, in the Galoubet. after Four Steps. the Tones
are not Continued, but a Leap of a Fifth is made
from the Fourth Note
Nature puts certain limits on itself so rigid that
it would be easier to destroy the world than to overstep
them.
Nature *s
demands
the
cause of
all
marvels,
For let
83
shorter in effect, and consequently the air pressure
increases; as a result of this, in accordance with my
supposition, the pitch is raised, as mentioned.
Finally, if the flute has all its holes open, the
pressure of the air is in the ratio of four to three with
respect to the pressure when all are closed.
In consequence
$4
/ II
The Flageolet
We call the flute that has six holes in front the
flageolet.
closed, since, with these closed, the flute has in effect the
greatest length, and thus it must produce the lowest tone,
91. The last four notes are corrected from the original,
where they are one step lower. The fingerings are slightly
different from Mersenne*s, but may be from a different
source. Number 1 should show all holes closed.
65
for the reason indicated in the above section.
And thus, as
86
s t r i k e s . 92
67
68
for the flute is held across the lips, and it is blown at the
hole X. 94
instruments.
Figure VI shows the picture of a horn, cornetto in
Italian, an instrument most suitable for the highest voice.
But since these are very well known, we will not tarry over
them.
But, so that I will not seem to have omitted
anything, we will present here an ensemble of flutes,
suitable for this class of instruments.
it is
The
ones,
halved.
89
You see that this composition is arranged with such
skill that it obtains its effect only when performed on
flutes; if it is performed on viols or lutes, it will not
obtain it at all.
How
i t s e l f . 96
90
91
$ III
Trumpets and their Properties
The Holy Scriptures testify in many places that the
trumpet is one of the most ancient instruments.
We read in
But these
92
blowing.
constructed that one [tube] can move close inside the other.
In trumpets of this sort, the different tones do not emerge
so much from breath and tongue as from lengthening and
shortening, or what is the same, by pulling in or out the
lower crook.
Plate IX.
93
In this table you see that the farther the numbers
recede from unity, the more imperfect appear the consonances.
The trumpet follows this natural progression of intervals.
For, e.g., one first tone c gives the unison, so to speak,
while it makes with the second tone, which is indicated by
the number 2, not a second, but that consonance which the two
numbers one and two express as its ratio, namely the octave.
With the third tone, it makes not the major third, but that
consonance which the ratio 3:2 has as its result, namely the
fifth, and 3:1, or a twelfth, with the first.
In the same
major third with the fourth, and the sixth a minor third with
the fifth.
Then
The only
94
ces, so that the trumpet would rather burst than allow them.
Thereupon, shunning the number seven as the enemy
of harmony, it seeks the eighth as a friend for itself, with
a sort of leap.
95
wit, the fact that the effort of the blowing of the trumpeter
as well as the vibration of the air are in proportion to the
numbers following the natural order.
From these things it is also apparent that in these
six numbers the harmony of all things is founded, as will be
said at more length in its own place.
For if it were
96
Since all
Two others
97
take the middle road; the fourth, which they also call the
bourdon, remaining on a continuous unison, serves, as it
were, in place of a bass.
the trumpets that are called clarinas just the same as flutes
for any kind of ensemble, and perform the soprano parts
perfectly with all the diminutions displayed.
We have
98
99
IV
In
various holes of the pipes, which the piper uses just as the
keys on the harpsichord, for opening or closing the pipe
holes.
100
parasangs,l3
as they say,
101
Whoever
inserted in the axis FG, and the remaining two, D and E, seem
to turn around in the axis.
not be found out.^ 4
102
Chapter III
Organs, and heir Structure and
The organ is like a sort of epitome and compendium
of all wind instruments, and thus is deservedly the most
beautiful and perfect of all.
103
multiplicity of voices, I certainly think that nothing can be
compared with it.
in
104
7, the keyboard.
They may be of
II
The Proportions of Open Pines
Two kinds of pipes of this class are put in the
organ, some open at the top, some closed; both merit much
consideration in this matter.
Thus, when
105
flattened out, there appears as the
surface AGCD what, when wrapped
into a cylinder FGI, constitutes
the pipe FG.
The
106
Second,
that two wings, which others also call ears, are placed on
both sides of their mouths, for by bending them in or out,
the sound is now released, now pent up, and they serve
especially for perfect tuning of the pipes.
Also the
$ III
The Systematic Proportion of the Pines of one Octave
Before all, it should be known that the organs of
this time are so constructed that they correspond perfectly
to human voices.
107
feet; for if you depart from this measurement, the organ must
change, either a certain amount higher or a certain amount
lower.
pipe F
obtain the quantities of all the rest with the least trouble,
as follows.
First, let the whole length FH be divided into two
equal parts at point f, and fH will be the length of the tube
sounding the octave of FH.
111. Salomon de Caus, ca. 1576-1626. The reference is
undoubtedly to Les raisons des forces mouvants (Frankfurt,
Norton, 1615), "Livre 3, traitant de la fabrique des orgues."
112. On page 108 of the translation.
108
Second, so
that you may have a
pipe that will sound a
fifth with FH, proceed
so that FH is divided
into three equal parts,
marking the points.
Then two thirds, that
is, CH, will be the
length of the pipe
sounding the desired
fifth with FH.
Third, in
order to obtain the
fourth, do thus: divide
the line FH into four
equal parts, marking
the points.
Three
109
third, divide the whole line FH into five equal parts at
points A, D, a, and aa.
You
110
I say in
Ill
halve each space of the first octave, and transfer the halves
to the second octave, beginning with f, you will have all the
desired steps of the intervals for the second octave.
If you
into twelve equal semitones, and how all the pipes correspond
to one octave on the keyboard.
in this manner:
112
Again
113
114
II.
to XH.
and in sound.
Now it is
If a
115
twenty-second, or three octaves lower, all pipes will be
eight times as long.
organists. H 9
II.
First,
116
117
Problem IV
To Construct a System of Open Pipes
You will have a system of open pipes if you divide
the lines XY and FN in half.
See Fi
gure I,
Problem
I.
this will serve for f; H-aaa will serve for ccc and
122. Or Rohr Flute, German Rohrflote. French flute a
cheminee.
123. I.e., the chimney.
116
thus between these two distances, all the rest of the lines
will indicate the lengths of the other corresponding
pipes.124
It is a sort of
119
and pallets.
jn
Key L,
120
121
opened.
SGO
Plate X,
Figure
4.
The
out by the handle T, the holes of the wind chest which lie
below are covered by them and stop the flow of the wind into
122
the pipes.
not whole, but cut away, so that the table of the wind chest
may be better exposed.
once all the holes are opened, and produce the desired
sounds.
123
them.
Whoever still
of the beak of a bird such as the goose, and the sheet its
tongue.
See p. xxxiii.
124
of wood A.
See Figure
125
size, you
For the
126
But now
AGFE indicates the conical part of the pipe, and FEML the
reed.
127
rules as I was taught by Roman organists.
Rule I.
Two fifths of
X into four equal parts, and one fourth BOVD together with
the cone BDEF will give the smallest vox humana pipe.
if you desire the rest in between do thus:
Then
OA or VC into twelve equal parts, and you will have what you
sought.
S3FE the third, X4FE the fourth, and so on with the others to
the twelfth.
128
that for the whole rank each one serves for producing the
notes written by each line determining the height of the
pipe.133
Rule 2.*
The
largest tongue ILMN will be three inches long, and the last
or smallest HL two thirds of an inch.
129
corresponding pipe lengths indicate.
But the
Note that
necessary for
130
Part IV
PERCUSSION INSTRUMENTS
Finally we begin the fourth part of "Instrumental
Music", which is on instruments that are made to give forth a
tone by striking them.
briefly in this part, so that the cause of the sound and the
manner of construction to be observed in each one may be
noted more clearly.
131
Chapter I
The Sounds and Harmony to be Obtained from Pieces of Wood
I have said that there is no body that does not
have its own sound, as has been fully shown in the
"Physiologia musica".^?
In
diverse sound.
Comparing these also most carefully with the
experiments made by Father Mersenne, I found that they differ
much in weight as well as in sound, although I adhered
absolutely to all the conditions prescribed by said Father.
The reason for this fact can be only perhaps the more perfect
maturing of the woods of this Roman climate and their greater
dryness, which makes wood weigh less and sound higher, in the
manner that we also demonstrated for strings in the first
137. Book IX, Part I, of Musurgia.
132
part of this book.
much drier than the Parisian, while the Roman palm is much
damper than the African.
Perhaps it
133
Table Demonstrating the Weights and Differences in Pitch
of Various Types of Wood
According to the
observations of
Marin Mersenne
Weight
Pitch
oz. dr. gr.
According to the
observations of
Athanasius Kircher
Pitch
Weight
oz. dr. gr.
55
d"
40
fn
Willow
1/4
43
1/3
24
c#
Sycamore
1/2
1/2
Maple
1/2
23
1/2
18
Walnut
1/2
33
gf
1/2
Cherry
1/2
32
1/2
20
gf
Pear
1/2
1/2
gf
Hornbeam
1/2
69
1/2
40
Oak
1/2
59
a'
1/2
30
Cornel
1/4
10
1/2
Ivy
1/2
44
1/2
20
Alder
1/2
10
1/2
Ebony
10 '
10
Pine
134
Yet it
135
Since I do not have gold and silver, it was not possible to
include them also in the experiment.
And so let
136
preceding sections.143
137
GV
indicates the key, V the mallet fixed on its end, R the bar
placed above.
The more
If
An instrument
138
The first
mallet would strike the wood, the second the little bell, the
third the glass vessels, the fourth the other bodies arranged
as the present figure clearly shows, in which A indicates the
wooden parallelepiped, BE the little bell, CD the glass
vessel, G the key, D, E, and F the mallets.
Some construct an
Under
145.
The xylophone.
139
sharpest points instead of mallets.
140
been discussed elsewhere at length, I wish to be rather brief
here.
b r o n z e ,
to this day.
Also
Antiquities of
3-52
J o s e p h u s .
141
doubt of its antiquity; the only difficulty that remains is
on the matter of its material and shape.
But
Nothing in this
142
whole business is to be entrusted to experience, which has
taught that various mixtures are required for bells of
various sizes.
In many places
143
twelfth part of the height let the thickness be one half that
144
of edge IK.
Table of the
Thickness of
a Bell
IK
NM
QX
OL
OVL
1 part
2/3
3/7
1/2
3
You see
where, first, AB
indicates the
thickness of the
edge of a bell
weighing 10,000
pounds, EF the
thickness of the
edge of a bell
weighing 9,000
pounds, and thus
you see the thick
ness of the edge
154. The value for OVL is in error, and was probably intended
to be 2/3-
145
146
Table of the Proportion of Clauper and Bell
Weight of
bell in
pounds
10
20
30
40
50
60
70
60
100
150
200
250
300
400
500
Weight of
clapper
in pounds
1
2
2
3
4
4
5
5
6
9
12
13
15
19
23
1/2
6/12
1/2
1/2
1/2
1/2
600
700
600
900
1,000
1,200
1,300
1,400
1 ,7 0 0
1 ,6 0 0
1,900
2,000
2,500
3,000
4,000
5,000
5,500
6,000
27
30
34
37
42 & 44
46
46
52
63
67
75
60
100
125
140 & 145
160
175
190
6,500
7,000
7,50
6,000
9,000
9,500
10,000
11,000
12,000
13,000
14,000
15,000
16,000
17,000
16,000
20,000
21,000
22,000
200
220
235
250 A 260
290
295
305
315
340 A 350
370
390
410
430
450
490
510
530
550
Indeed,
147
Paris, of 23,000 pounds, and seven and a half feet in diame
ter; of St. Martin at Tours of 25,000 pounds.
But that of
148
149
three quarters of a hundredweight.
In order that it may be fully heard and
sufficiently struck, it must be rung by twenty-four
men, in addition to whom two others are required to
drive the clapper from both sides.
The sound of the bell when struck, when
carried by a favorable wind, is easily heard at
Gotha and Weimar (both cities are three German
leagues159 from Erfurt). Curriers and post
coachmen affirm that sometimes it is even heard at
four miles.
It emits a sound very low and magnifi
cent, which, according to the testimony of
organists, corresponds to the lowest D.loO jt
makes this most pleasing sound with the consonance
of a third which is perceived to be mixed with it,
and establishes the interval DF.
The ordinary price for ringing it, when
it is rung alone for a funeral or some other
purpose, is one Philippic or Royal Taler. But when
it is rung together with the rest of the bells of
the two adjoining towers, five Imperials are paid.
I swear that all these things are
so, and have been found out as reported in
this description after faithful and accurate
investigation, measurement, and observation,
and I testify with the signature of my name
Urbanus Heun Count Palatine, Sealbearer of the Most Eminent and Reverend Arch
bishop of Mainz, Electoral Prince of the Holy
Roman Empire, Dean of the Collegiate Church of
the Blessed Virgin Mary at Erfurt, and Pro
chancellor of the University at the same plaoe.
159. A German league (the same as the mile mentioned in the
sentence below) was approximately four and a half English
miles.
160. According to W. W. Starmer, "Bell (1)", in Groves Dictionarv of Music and Musicians. 3rd ed., (New York, Macmillan,
1935) p 326, the note is E by modern pitch standards.
150
Problem I
To Construct a Carillon, in which the Size of the Diameters
of any Bell is Found
We give the name carillon to a certain collection
of bells so constructed according to musical proportions
that, when rung according to the rules of the keyboard, they
produce a given harmony.
Divide this first into ten equal parts, and nine of them
give thediameter of the second bell sounding a minor
above the first.
parts, and nine of them will give the diameter of the third
bell sounding a tone above the second, and consequently these
three bells will sound a major third ut, re, mi, which,
however, as we will see later, is faulty.
Rule 2.
fourth above the first, divide the segment DC into five equal
parts, and three of them laid off from D toward B will give
at E a point which determines the diameter of a bell sounding
a fourth, i.e., BE.
Buie
fifth with the
151
fourth BE be divi
ded into ten equal
parts, and nine of
them will give BF,
the desired diame
ter of the bell.
Again let this be
divided into ten
parts, and nine of
them will give the
desired bell BG,
the diameter of one
sounding a sixth
above the first.
Further, if BG is
divided again into
ten parts, nine
parts will give BH,
the desired diame
ter for bell seven.
Rule _4..
You will have a
bell sounding an
octave above the first if you divide diameter AB in half at
152
and three
thirds, BF, will give the desired diameter of the fifth bell.
Fifth, divide BC into three equal oarts, and two
thirds
and four of
the five, namely BH, will give the diameter of the seventh
bell.
Seventh, divide BA into two equal parts at I, and
IB will give the diameter of the eighth bell.
Now, if anyone wishes to have a larger or smaller
octave, let him transfer the whole system AB to both sides of
a divider, as they call it, as appears here; its use is as
153
follows.
that you desire for some bell between the sides or legs AA.
And then, without moving the instrument, the space CC will
give the diameter of the second bell, the space DD the diame
ter of the third, and so with the other intervals in order,
to II, which will give the diameter of the eighth bell.
Through this endeavor, in the easiest way of all, given the
diameter of the largest bell, of any size, you will obtain
the diameters of all the rest.
154
bell, which sounds a fourth below the first, will be a third
larger in thickness than the first.
bell, you may know the weight, and vice versa, given the
weight you may know the thickness of any bell, we will
prescribe the rules for you.
Rule I
Given the Thickness of Two Bells a Major Tone Apart. and the
Weight of the Smaller, to Find the Weight of Any Other
Triple the ratio of a major tone, which is 9:6,
i.e., cube these numbers, and you will get 729:512.
Then let
twenty-five pounds, and the smaller cube 512, the larger 729,
and the example will stand as follows:
The cube 512 is to the cube 729 as 25 pounds is to
what weight?
155
second.
another will be had if you cube the ratio 1:2 of the octave;
the cubes of both will be 1 and 8.
that the first bell is or 25 pounds.
Proceed in
156
LM indi
157
But since this artisans'
scale is intricate, we will be
doing something worthwhile if we
transfer it to one line.
fore do thus:
There
Transfer to either
Then
158
The same
The
159
Problem II
To Find the Difference in Pitch of Bells Equal in Size, but
Made of Different Metals
Mersenne has shown us an experiment on this problem
first in his Harmonie. and we also have made an experiment on
this problem, but we found different pitches, so let us give
the observations of both, so that the reason for the differ
ence may become known.
For even if
for this fact is none other than the unequal flow of the
material, spreading itself around unequally through the body
of the bell; in consequence of this there is a diversity in
the pitch.
density are the causes of high and low pitch, certainly the
air, when beaten by a rarer material, will give a much higher
sound than when a dense material was struck, so that in
consequence I would think that hardly anything could be
160
here.
3-66
When these
Material of bell
Mersenne
Kircher
experiments had been
Tin
Silver
Pure tin
Mixed silver
Resonant tin
Tin and antimony
Lead
Copper
Bell metal
Bismuth
Brass
Gold
e
f*
f#
gT
g#f
ab*
bbf
cb"
c"
db"
eb
eb"
eT
f*
g
a*
g*
gT
b
a*
c"
c"
b
d"
observed according to
Mersenne*s ruler, with
the very greatest ef
fort, we finally ob
served these tones,
employing Roman musi
cians esteemed for the
161
the matter.
difficult to make, let us leave this matter and turn our pen
to others.
Chapter III
The Drum. Cymbals. and other Composite Instruments
The drum is an instrument known to all, of sheep or
ram skin and oak boards wrapped into the shape of a cylinder,
as it appears in the figure, on both ends of which said skin
is stretched with ropes.
162
163
five, six, and eight have, of which four to five
The pro
portion
gives the major third, five to six the minor third,
of drums
necessix to eight the fourth, eight to four the octave,
sary for
making
he would establish their height and width according
conso
nance.
to said numbers. E.g. , if the first drum had
thirty inches for its height, the second must have
twenty-four inches for its height, the third twenty, and the
fourth fifteen inches of height.
of the width, for drums mostly have the same height as width.
There are other types of drums besides, but because these are
of little service to music, we have omitted them.
In this place I cannot omit an instrument which
sailors and soldiers use widely, called in the German
language ein maultrummen.166 i_.e. , a mouth drum, because when
inserted in the mouth it gives forth sounds.
It is made of a
164
music.L69
There is also another instrument which we call
castanets, the Italians gnaccari.
instrument.
In this place nothing else seems to be required,
except for us to pursue the musical instruments of all kinds
used in all parts of the world.
165
compositions.
But let us
166
APPENDIX A
Incipits of the. Main Sections of the Allegri
Ensemble for Viols, p. 21
167
APPENDIX B
List of Names of Musical Instruments and Parts in Musurgia.
with their Translations
Seventeenth-century French, Italian, and German
words have been omitted, except those that Kircher commonly
Latinizes. A question mark indicates a meaning which is not
certain. The terms applying to the organ have been placed in
a separate list after the main one.
abacus
abacus harmonicus
abacus manuarius
abacus polyplectrus
ansa
archicymbalum
arcus
campana
canon
chelys
chelys hexachorda
chelys minor
choraulos
chorda
clarina
claviarium
clavichordium
c1a'vicymb alum
collum
cornamusa
cornu
cornu venatorum
crepitaculum
cymbalum
cythara
dorsum
dulcinum
fagotus, fagottus
fistula
fistula enneastoma
fistula hexastoraa
fistula militaris
fistula tristoma
harpa
hyposalpinx
instrumentum crusturn
keyboard
keyboard
keyboard
keyboard
ear (of a bell)
archicembalo
bow
bell
fingerboard, neck?
viol
viola da gamba
violin (or viola)
dolcian, bassoon
string
clarino
keyboard
clavichord
harpsichord
neck, pegbox, fingerboard?
bagpipe
horn, cornett
hunting horn
castanets
cymbals
cittern, guitar
back (of a stringed instrument)
dolcian, bassoon?
bassoon
pipe, flute
recorder
flageolet
fife
galoubet
harp
trombone slide
percussion instrument
166
169
Organ Terms
ala
anemotheca
anthropoglossa
aulotonus
auricula
canalis ventorum
canon
choraulos
cribrum
fistula
follis
lingua
lingula
paraglossa
paraulos
pilotis
polystomaticum
registrum
secretum organicum
secretum ventorum
systema
zooglossa
ear
wind trunk, wind chest
vox humana
tuning wire
ear
wind trunk
register
dulciana
table
pipe, flue pipe
bellows
tongue
lip, tongue
pallet
chimney flute
sticker
sound board
register
wind chest
wind chest
register
reed pipe
170
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Musurgia universalis sive ars magna consoni et dissoni, 2
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Neue Hall-vnd Thon-Kunst (translation of Phonurgia by Tobias
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Phonurgia nova. Kempten, Dreherr, 1673.
rw
Kircherus Jesuita germanus Germaniae redonatus: sive
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Laidigen, 1662.
Florence, Stamperia
171
Schilte Haggiborim, "Tractatus de Musica veterum Hebraeorum"
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Thesaurus antiquitatum sacrarum. Venice, 1744-1769, Vol.
XXXII, pp. 1-96.
Tertullian, De anirna, ca. A.D. 200.
Vicentino, Nicola, L antica musica ridotta alia moderna
prattica, Rome, A. Barre, 1555.
Virgil, Polydore, De. inventoribus rerum. Paris, 1499.
Vitruvius, De architectura. first century A.D., Book X,
Section viii, on the hydraulis.
172
Galilei, Vincenzo, Dialogo della musica antica, et della
moderna, Florence, G. Marescotti, 1J5T.
Gombosi, Otto, "The Melody of Pindars "Golden Lyre, The
Musical Quarterly. Vol 26 (1940), pp. 381-392.
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Practice of Music, new edition, London, Novello, 1853.
Hull, A. Eaglefield, "The Earliest Known String Quartet", The
Musical Quarterly. Vol. 15 (1929), pp. 72-76.
Kircher, Athanasius, Mundus subterraneus. Amsterdam, J.
Jansson and E. Weyerstraten, 1665.
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1924.
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Luscinus, Ottomar, Musurgia seu praxis musicae. Strassburg,
Johann Schott, 1536.
Meibom, Marc, Antiquae musicae auctores seotem, Amsterdam,
Ludovicus Elzevirius, 1652.
Mersenne, Marin, Cogitata physico mathematica. Paris, Antoine
Bertier, lo44.
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173
Muller, Adolf, "Kircher, Athanasius", The Catholic
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Appleton, 1910.
Praetorius, Michael, SvTitagmatis musici tomus secundus de
organograohia, Wolfenbuttel, Elias Holwein, 1619. "
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