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 Another thing alike among these early peoples, is that all of them
had drums and rattles of some kind and a roughly made instrument
that resembles our pipes. But they had no stringed instruments and
for their beginnings you will have to journey on with us in this,—your
book.
Since giving this book to the public, we have come in direct contact
with some remarkable songs of the Nootka (Canadian) Indians and
of the Eskimos. Juliette Gaultier de la Verendry, a young French
Canadian, has sung them in New York in the original dialect. They
have been given to her by D. Jenness, an anthropologist who lived
among the Eskimos for several years, studying their traits and at the
same time he took the opportunity of writing down their songs. They
are truly savage music and have the characteristics of which we have
spoken in the use of intervals, drums, and in the type of songs, such
as weather and healing incantations (medicine songs), work songs,
and dances.
 CHAPTER III
The Ancient Nations Made Their Music—Egyptian, Assyrian, and
Hebrew

Three thousand years before Jesus was born, a corner of

southwestern Asia and northeastern Africa was the home of people
who had reached a very high degree of civilization. They were the
first to pass the stage of primitive man, and to make for themselves
beautiful buildings, beautiful cities, monuments, decorations and
music. Among these ancient, civilized people were the Egyptians, the
Assyrians and the Hebrews. We will talk first about the Egyptians
because they had the greatest influence not only on the Assyrian and
Hebrew music, but also on the Greeks who went to Egypt. So, in
European music we can trace the Egyptian influence through the
Greeks.
The Egyptians were very fond of building and they decorated what
they built with pictures in vivid colorings called hieroglyphics (heiro
—sacred, glyphics—writings). As they had neither newspapers nor
radio sets, they carved or painted the records of their daily lives, their
festivals, battles, entertainments, and even marketing journeys on
the walls and on the columns of the temples, on the obelisks, and in
the tombs, some of which were the pyramids.
The climate saved these records from destruction, and the
archaeologists re-discovered them for us in the tombs full of
Egyptian treasure and the temples and lost cities, buried for
thousands of years.
 Fig. 1.

Drums and Sticks.

Fig. 2.

Sioux Drum.
 Fig. 3.

A Pipe and Rattles from Alaska.

Fig. 4.

Bone Flutes.

(Courtesy of the Metropolitan Museum of Art, New York.)

 Some Instruments of the American Indian.

From the Egyptian

Collection in the
Louvre, Paris.

Hieroglyphics on an Egyptian Tablet.

(Telling a story of a Prince.)

The Egyptians built to inspire feelings of awe, mystery and

grandeur. You probably remember pictures of obelisks, temples,
pyramids, tombs and sphinxes, alongside of which a man looks but a
few inches high.
They were very young as the world goes, and built huge structures
because they were still filled with wonder at the immensity and
power of the things they saw in Nature,—the Nile; the great desert
which seemed vaster to them because they had only slow-moving
camels, elephants and horses to take them about; they saw very long
rainy seasons and the Nile overflowing its banks yearly, long dry
seasons and the terrible wind and sand storms; the great heat of the
sun, and the glory of their huge flowers, such as the lotus.
Just as primitive people did, they personified Nature in the gods.
They had Osiris—god of Light, Health and Agriculture; Isis—goddess
of the Arts and Agriculture; Horus (hawk-headed), the Sun god;
Phtah, first divine King of Memphis, and many others. Again like
primitive people, they had music for their gods, for their temple
services, for their state ceremonies, festivals, martial celebrations
and amusements.
Primitive music, we saw, had no laws to bind it, but was guided by
the savage’s natural feeling and he could make up anything he
wished. In Egypt, because of state law which prevented it from
changing, music was held down to the same system for three
thousand years. New music was forbidden, and much of the old was
considered sacred and so closely connected with religious
ceremonies that it was allowed to be used only in the temples.
The priests lived in these magnificent temples and were the
philosophers, artists and musicians, very like the medicine men of
the Indians, but much more advanced in learning.
Like the American Indians, too, the profession of music was
handed down from father to son, and only the children of singers,
whether they had good voices or not, could sing in the temples.
On the monuments we see these singers followed by players of
instruments. The singers were of the highest caste, or Priest caste;
the players were usually of the lower classes, or the Slave caste,
although as pictured on the tombs of Rameses, one of Egypt’s
greatest rulers and builders, we see the priests dressed in splendid
robes and playing large harps.
The temples of Egypt were so huge that the music had to be on a
large scale. They thought nothing of an orchestra of six hundred
players of harps, lyres, lutes, flutes and sistrums (bell rattles),
whereas we today advertise in large type the fact of one hundred men
in one orchestra! We see no trumpets in the picture writings of the
Egyptian orchestra, for these were only used in war, and we find
them only in their pictures of war and triumphal marches; nor do we
see large drums, because the Egyptians clapped their hands to mark
rhythm. However, the military instruments in the hands of players
pictured on the monuments, show that they used trumpets and
tambourines in the army.
From the names we find in the tombs—“Singers of the King” and
“Singers of the Master of the World,” we know that the Kings had
musicians of high rank in their courts. The paintings on the walls and
columns of the ruins of the temple Karnak, show funeral services
with kneeling singers, playing harps of seven strings and other
instruments.
Ptolemy Soter II, another famous Egyptian ruler, gave a fête in
which were heard a chorus of twelve hundred voices, accompanied
by three hundred Greek kitharas and many flutes.
It seems like a fairy tale that we can bring back the manners and
customs of three thousand years ago through studying the writings in
stone called hieroglyphics, and by examining the things used every
day, that were found in the excavations. For a long time the
hieroglyphics were unsolved riddles until the discovery in 1799 A.D. of
the Rosetta stone, on which was an inscription in hieroglyphics with
its Greek translation. Although ancient Greek is called a dead
language, it still has enough life in it to bring back the history and
records of antiquity. Through this knowledge of Greek, the Egyptian
inscriptions speak to us and tell us marvelous stories of ancient
Egypt.
In one of the tombs at Thebes, was a harp with strings of catgut,
which when plucked, still gave out sounds although the harp had
probably not been played upon in three thousand years!
Going once more to our ancient stone library—or collections of
monuments in our museums or in Egypt—we see many pictures of
dancers. The Egyptians danced in religious ceremonies as well as in
private entertainments. They loved lively dances, and the men did all
sorts of acrobatic steps and even toe-dancing like our Pavlowa, while
the women did the slow, languorous dances.
Egyptian music was greatest as far back as 3000 B.C.! After that it
grew poorer until 525 B.C. when Egypt was conquered by Persia.
 The Egyptian Scale

The Egyptians must have used a musical scale of whole steps and
half steps, covering several octaves, not unlike ours. Think of the
piano keyboard with its black and its white keys and you will get an
idea of the Egyptian scale. We learned this through the discovery of a
flute that played a scale of half steps from a below middle c to d
above the staff with only a few tones missing.
 Assyrian Music

In the British Museum in London and in the Louvre in Paris, you

can see ancient records which archaeologists unearthed from three
mounds near the River Tigris in Asiatic Turkey. These mounds were
the remains of the Assyrian cities of Nimroud (Babylon), Khorsabad,
and probably the famous Nineveh, and date from 3000 to 1300 B.C.
Did Assyria influence Egypt or was it the other way around? The
Egyptians excelled in making mechanical things such as instruments,
utensils, tools, and in building temples and pyramids; while the
Assyrians were sculptors, workers in metals and enamel, and knew
the secret of dyeing and weaving stuffs, and of making beautiful
pottery. But whose music was the better, the Egyptians or the
Assyrians, is impossible to say. We do know, however, that the
Assyrians, as well as the Egyptians and Hebrews, had perfected
music far beyond the standard reached by many nations of our own
time.
The Assyrians had the same families of instruments that we have,
—the percussion (or drums), wind, and strings; and they used
different combinations of instruments in concerts, either in
instrumental performances or for accompanying vocal music.
Everything that we know about them shows that the Assyrians were
greater noisemakers than the Egyptians, for they not only had drums
and trumpets, but they also marked rhythm by stamping their feet
instead of clapping their hands.
The instruments pictured on the monuments, probably existed
many centuries before the building of these monuments, which
would make them very old indeed. In fact, almost all of them are still
in use in the Orient today and are played in the same way. The
monuments also prove that some of the special ceremonies in which
music was used are still in existence.
Both the Assyrians and the Egyptians had flutes, and double flutes
which were actually two flutes connected by one mouthpiece and
looked like the letter v. The Assyrians also had harps that varied in
size from some that could be carried in the hand, to some that stood
seven feet high and had as many as twenty-two strings. The
dulcimer, an instrument something like a zither, was very popular
and was made so that it could be played standing upright or lying
flat. They also had drums, castanets, cymbals, tambours or
tambourines, and lyres, all of which could be easily carried.
The Assyrians being a warlike nation made their instruments so
that they could be strapped to their bodies. So it seems that people in
3000 B.C. were practical.
The Assyrians were so fond of music that when their war-prisoners
were musicians they were not put to death.
 Hebrew Music

We get our knowledge of the Hebrew music not from stone

monuments and wall pictures, but from Biblical writings and other
ancient Hebrew records. In the Second Commandment, God forbids
the Hebrews to make images:
“Thou shalt not make unto thyself any graven image, nor the
likeness of anything that is in heaven above, or in the earth beneath,
or in the waters under the earth.” (Exodus XXI: 4.) With so strict a
commandment, you can understand why there are no pictures of
singers and of instruments, and that we have to go to the greatest
literary gift to the world,—the Old Testament, to find out about their
music.
The first musician mentioned in the Bible is Jubal. It says in
Genesis IV: 21, “he was the father of all such as handle the harp and
pipe (or organ).” From an old Spanish book found in the early 18th
century in a Mexican monastery, comes the story that Jubal was
listening to Tubal-Cain’s forge, and noticed the difference in pitch of
the sounds made by the strokes on the anvil. Some tones were high,
some low, and some were medium. He compared this to the human
voice, and tried to imitate the sounds, high, low and medium, of the
forge. Thus he became the first singer of the Hebrews. Jubal invented
a flute and a little three-cornered harp called the kinnor. These small
instruments were most convenient to carry about, for at this time the
Hebrews were shepherd tribes wandering from place to place. Their
music was simple as is the music of all primitive peoples.
We know from the Biblical story that the Children of Israel were
sold into captivity and remained many centuries in Egypt; that
Moses was found in the bulrushes by Pharoah’s daughter, and was
educated as an Egyptian boy and “was learned in all the wisdom of
the Egyptians.” Therefore, he must have learned music from the
priests. It is natural then, that the Hebrews must have borrowed the
music and instruments of their adopted country in the making of
their own.
After Moses had been commanded by the Lord to lead the children
of Israel out of the land of captivity, and after the Red Sea had
divided to allow them to pass through, we read the great song of
triumph sung by Moses:
“Then sang Moses and the Children of Israel: ‘I will sing unto
Jehovah, for he hath triumphed gloriously, the horse and his rider
hath he thrown into the sea, Jehovah is my strength and my song
and he is become my salvation.’” etc.—(Exodus XV: 1–2).
And “Miriam, the prophetess, the sister of Aaron, took a timbrel in
her hand, and all the women went out after her with timbrels and
with dances.” (The timbrel is a small tambourine-like instrument.)
This story, like others in the Old Testament, is full of the accounts
of musical instruments, singing and dancing, and shows us that the
ancient Hebrews used music and the dance for nearly every event. If
you read carefully you will get the musical history of this poetic
people.
While the Children of Israel were in the wilderness, Moses
received from Jehovah the command: (Numbers X.)
“Make thee two trumpets of silver; of a whole piece shalt thou
make them; that thou mayest use them for the calling of the
assembly, and for the journeyings of the camp.”
Then follow directions as to the meaning of the blowing of the
trumpets. One trumpet alone called the princes; two trumpets called
the entire tribe together; an “alarm” gave the signal for the camps to
go forward, and so on. So, you see the ancient Hebrews used
trumpets much as we today use the army bugle. The trumpets
mentioned as one of the earliest of all instruments called the people
to religious ceremonies too; it announced festivals, the declaration of
a war, the crowning of a king, proclaimed the jubilee year, and gave
warning of the anger of God.
One instrument has come down to our times and is still used in the
Hebrew temple services. This is called the shofar and is usually a
ram’s horn on which two tones may be blown. Probably, as the ram
was one of the animals of sacrifice, they used its horn as a sacred
instrument. This shofar is 5,000 years old, at least. It is sounded in
all the synagogues of the world on the Jewish New Year and on the
Day of Atonement in memory of the wanderings of the Children of
Israel.
 When the twelve tribes, after their wanderings in the wilderness,
had settled down in Palestine, they gave music a most important
place in their daily life. Samuel, the last and most respected of the
judges, built a school of prophecy and music. Here it was that young
David hid himself to escape the persecutions of Saul. You remember
that David is called the Great Musician and he gave us many of the
Psalms, the most beautiful religious verse in the world. How much it
would mean to us if we knew the music David sang to these songs! In
spite of the fact that the music in which they were originally sung has
been lost, the Psalms have been an inspiration to all composers of
religious music throughout the ages. David learned so much at
Samuel’s school that he created a most beautiful musical service for
the temple, which is the basis of the one used today in Jewish
synagogues (temples).
The number that were instructed in the songs of the Lord was two
hundred, four score and eight (288). There were in all four thousand,
including assistants, students, players of instruments and the two
hundred and eighty-eight professional singers.
All of these people did not perform at one time; for the ordinary
services they used twelve male singers, twelve players on
instruments,—nine harps, and two players of the psaltery and one of
cymbals. Women were not allowed to sing in the temples but they
were a part of the court and sang at funerals and at public festivities
and banquets.
The great Jewish historian, Josephus, tells us that Solomon had
two hundred thousand singers, forty thousand harpists, forty
thousand sistrum players and two hundred thousand trumpeters.
This is hard to believe, but as everything belonged to the kings in
bygone days, probably this was only Solomon’s musical directory.
The psaltery was an instrument something like our zither, with
thirteen strings on a flat wooden sounding board, rectangular in
shape. The sistrum was a metal rattle which made a very sweet
sound.
It isn’t easy to describe the instruments used thousands of years
ago, for the names have become changed through the ages, and we
find the same type of instruments called by different names in
different countries and periods. For example, the psaltery is much
the same instrument as the dulcimer, the Arab’s kanoun and the
Persian santir. We find the same psaltery in Chaucer’s “Miller’s Tale”
as sautrie. By the addition of a keyboard this Biblical instrument
became the spinet, which you will meet again in the 15th and 16th
centuries. In the 13th century, in Italy, we find a kind of psaltery
hung around the neck and called “Istroménto di porco” because it
looked like the head of a pig.
Not all the songs of the Bible are religious. The Song of Solomon, a
most beautiful poem of marriage, gives us a vivid picture of luxury
and magnificence, as well as showing us that music was used for
other than religious ceremonies.
After the death of Solomon, the music in the temple lost its
splendor and again the Children of Israel were made captive. When
one hundred years later Nebuchadnezzar (586 B.C.) the King of
Babylon, destroyed their temple, the song of the Hebrews became
sad and mournful, as you can read in the Book of Lamentations and
in this beautiful song of grief, the 137th Psalm:

SORROWS OF THE EXILES IN BABYLON

By the rivers of Babylon

There we sat down, yea, we wept,
When we remembered Zion.

Upon the willows in the midst thereof

We hanged up our harps.

For there they that led us captive required of us songs,

And our tormentors required of us mirth, saying:
“Sing for us one of the songs of Zion.”

How shall we sing Jehovah’s song

In a foreign land?

If I forget thee, Oh Jerusalem,

Let my right hand forget her skill.

Let my tongue cleave to the roof of my mouth

If I remember thee not;
If I prefer not Jerusalem,
Above my chief joy.
 During the next few centuries the Hebrews became scattered over
the world, carrying with them their reverence for God, their love of
poetry and song, and their religious customs. These qualities have
persisted throughout the centuries, and some of the greatest
musicians in the world have been of Hebrew origin.
Although most of the old music has passed away, there is still
enough of its spirit left in their temple services to give some idea of
the ancient Hebrew music.

From a panel in a
Museum (delle
Terme) in Rome.

Greek Girl Playing a Double Flute

(auloi).
From a frieze in the
Boston Museum of
Fine Arts.

Greek Boy Playing the Lyre.

 CHAPTER IV
The Greeks Lived Their Music—The Romans Used Greek Patterns

The Greeks “dwelt with beauty” and believed it to be a part of being

good, and they strove to make everything beautiful. Beauty to the
Greeks was a religion. Had this not been so, we would not have the
Venus de Milo, the Parthenon in Athens, the Hermes, the Winged
Victory (Niké of Samothrace) and all the other Greek masterpieces
which no modern sculptor or builder has surpassed.
It is interesting to see a nation 400 years before the time of Christ
and even earlier, making glorious art works in stone, and writing the
greatest plays the world has ever had, being more grown up than
modern nations, and yet as far as we know an infant in the art of
music. We have only the slightest idea of how their music sounded as
they had no accurate way of writing it, and had only very primitive
instruments. Although when compared to their other arts their music
was not great, still it was very important to them and they used it
constantly with poetry, dancing, and in the drama.
The word music was first used by the Greeks and has been carried
into nearly every language; we find musique in French, Musik in
German, musica in Italian, and so on.
Music, according to the Greeks, was an art which combined not
only the playing of instruments, singing and dancing, but also all the
arts and sciences, including mathematics and everything in the
universe. It took its name from the Muses, and they believed that it
led to the beautiful accord and harmony of the world.
The nine Muses were daughters of Jupiter, and each presided over
some particular department of literature, art and science.
Clio: Muse of History and Epic Poetry. She is shown in statues and
pictures holding a half open scroll.
Thalia: Muse of Joy and Comedy (drama) with a comic mask in
one hand and a crooked staff in the other.
Erato: Muse of Lyric Poetry, inspired those who wrote of love. She
plays on a nine-stringed lyre.
 Euterpe: Muse of Lyric Song, patroness of music especially of flute
players. She holds two flutes (auloi).
Polyhymnia: Muse of Sacred Song. She holds her forefinger to her
lips or carries a scroll.
Calliope: Muse of Eloquence and Epic Poetry, holds a roll of
parchment, or a trumpet.
Terpsichore: Muse of the Dance, presiding over choral, dance and
song. She appears dancing with a seven-stringed lyre.
Urania: Muse of Astronomy, holds the globe and traces
mathematical figures with a wand.
Melpomene: Muse of Tragedy (drama), leans on a club and holds a
tragic mask.
 Myths and Legends

The myths and legends of the ancient Greeks read like fairy tales,
but to the Greeks they were what our Bible stories are to us. In their
rich mythology we find many stories about the beginnings of music.
To Pan, the god of woods and fields, of flocks and shepherds, is
given the credit of inventing the shepherd’s pipe, or Pan’s Pipes. He
lived in grottoes, wandered on the mountains and in the valleys, and
amused himself hunting, leading the dances of the nymphs, and
playing on his pipes.
 Pan’s Pipes

A beautiful nymph named Syrinx was loved by Pan, but every time
that he tried to tell her of his love, she became frightened and ran
away, for Pan was a funny looking lover with goat’s legs, a man’s
body, and long pointed ears. One day he chased her through the
woods to the bank of a river; she called out in fright, and was
suddenly changed by her friends the Water Nymphs, into a clump of
tall reeds. When he reached out to embrace her, instead of Syrinx, he
had the clump of reeds in his arms! As he sighed in disappointment,
his breath passing through the reeds, produced a sad wail. Pan,
hearing in it a plaintive song, broke off the reeds in unequal lengths,
bound them together, and made the first musical instrument, which
he called a syrinx in memory of his lost sweetheart. These pipes
comforted Pan, and he played many tender melodies, and often
without being seen, was known to be near by his lovely music.
Pan, although adored, was feared. At one time, Brennus, a warrior,
with a company of Gauls (a tribe from ancient France), attacked the
Temple of Delphi (in Greece), and was about to destroy it, when
suddenly they turned and fled in fear although no one pursued them.
Their terror was supposed to have been of Pan’s making, and to this
day we use the word “panic” (Pan-ic) for all sudden overpowering
fright.