Musical instruments
Musical instruments - History
The First Instrument

Ensembles and Orchestras
The symphony orchestra

Musical instrument classification


Musical instruments
Wind Instruments-pipes
Wind Instruments-brass
Stringed instruments-bowed
Stringed instruments-plucked
Stringed Instruments-struck
Stringed Instruments-plucked and struck

Musical instruments - Library
Percussion instruments: Idiophones
Percussion instruments: Membranophones  (1 - 2 - 3 - 4 - 5)
Wind instruments (1 - 2 - 3 - 4 - 5 - 6 - 7 - 8 - 9 - 10)
Stringed instruments
Electronic instruments
Anne Vallayer-Coster, Attributes of Music, 1770. This still life painting depicts a variety of French Baroque musical instruments, such as a natural horn, transverse flute, musette, violin, and lute.
Musical instruments  - History

Ever since prehistoric times, when humans found they could produce agreeable sounds by striking pieces of wood, blowing through an animal horn, or twanging the gut strings of their hunting bows, they have sought to improve these sounds by refining the tools - the instruments - that produce them. This process of refinement has been far from consistent. It has depended on the changing pressures and demands of society, especially the ways people use music, and on the people who make music - composers and performers.

In Europe before I 100, the Christian church presided over all formal music. The church decreed that music be sung, with no accompaniment except the organ. The rise of instrumental music in Europe largely awaited the import of Middle Eastern instruments via the Moorish conquest of Spain (eighth century) and the twelfth- and thirteenth-century Crusades. Nearly all our modern orchestral instruments have distant ancestors in central Asia and distant cousins that survive there.

With the Renaissance came ideals that greatly increased the scope of instruments. The Church no longer held exclusive rights to literacy, knowledge, or classical music. Composers began to use instruments to double or replace human voices in polyphonic music. Instrument makers varied the sizes and shapes of instruments to create sounds from bass to soprano, to match vocal ranges. During the later Baroque period, the burgeoning orchestras demanded instruments that could blend with each other and satisfy the subtle tastes of an increasingly sophisticated audience. Instrument makers beccame skilled artists in their own right, and the same of some, such as Antonio Stradivari, even rivalled that of the greatest composers.


By 1750 the piano and most of our modern orchestral instruments already existed, though many were still far from their final form. The violin family, already established as the main body within the orchestra, was the most clearly defined. But in the Romantic era, composers wanted greater volume and increased expressiveness, and even the violin family went through further changes. In addition, public concerts in large concert halls became common, which increased the need to make instruments louder.

Musicians themselves were looking for technical improvements. Pianists, harpists, and woodwind and brass players wanted to play faster and with easier access to all the notes in every key. They wanted improved tuning, tone quality, and consistency. Sebastien Erard responded with critical additions to the piano and harp, Theobald Bohm invented an elaborate keywork system for the woodwinds, and Bluhmel and Stolzel developed the valve for the brass instruments, all within the first 30 years of the nineteenth century. The age of virtuoso performers soon followed, and instrument makers and composers responded variously to their demands.

In the twentieth century, composers continue to experiment with an increasing variety of instruments and have once again turned to non-Western musical traditions, particularly in search of new percussion effects. Using electronic computers and synthesizers they have added mathematical precision and a new range of colours to the composer's musical palette. A revival in early music has also prompted musicians to take up the instruments of earlier ages again, both for "authentic" performances of older music and to provide ever more resources for the new.

A musical instrument is an instrument created or adapted to make musical sounds. In principle, any object that produces sound can be a musical instrument—it is through purpose that the object becomes a musical instrument. The history of musical instruments dates to the beginnings of human culture. Early musical instruments may have been used for ritual, such as a trumpet to signal success on the hunt, or a drum in a religious ceremony. Cultures eventually developed composition and performance of melodies for entertainment. Musical instruments evolved in step with changing applications.

The date and origin of the first device considered a musical instrument is disputed. The oldest object that some scholars refer to as a musical instrument, a simple flute, dates back as far as 67,000 years. Some consensus dates early flutes to about 37,000 years ago. However, most historians believe that determining a specific time of musical instrument invention is impossible due to the subjectivity of the definition and the relative instability of materials used to make them. Many early musical instruments were made from animal skins, bone, wood, and other non-durable materials.

Musical instruments developed independently in many populated regions of the world. However, contact among civilizations caused rapid spread and adaptation of most instruments in places far from their origin. By the Middle Ages, instruments from Mesopotamia were in maritime Southeast Asia, and Europeans played instruments from North Africa. Development in the Americas occurred at a slower pace, but cultures of North, Central, and South America shared musical instruments. By 1400, musical instrument development slowed in many areas and was dominated by the Occident.

Musical instrument classification is a discipline in its own right, and many systems of classification have been used over the years. Instruments can be classified by their effective range, their material composition, their size, etc. However, the most common academic method, Hornbostel-Sachs, uses the means by which they produce sound. The academic study of musical instruments is called organology.

Definition and basic operation

A musical instrument makes sounds. Once humans moved from making sounds with their bodies—for example, by clapping—to using objects to create music from sounds, musical instruments were born. Primitive instruments were probably designed to emulate natural sounds, and their purpose was ritual rather than entertainment. The concept of melody and the artistic pursuit of musical composition were unknown to early players of musical instruments. A player sounding a flute to signal the start of a hunt does so without thought of the modern notion of "making music".

Musical instruments are constructed in a broad array of styles and shapes, using many different materials. Early musical instruments were made from "found objects" such a shells and plant parts. As instruments evolved, so did the selection and quality of materials. Virtually every material in nature has been used by at least one culture to make musical instruments. One plays a musical instrument by interacting with it in some way—for example, by plucking the strings on a string instrument.

Researchers have discovered archaeological evidence of musical instruments in many parts of the world. Some finds are 67,000 years old, however their status as musical instruments is often in dispute. Consensus solidifies about artifacts dated back to around 37,000 years old and later. Only artifacts made from durable materials or using durable methods tend to survive. As such, the specimens found cannot be irrefutably placed as the earliest musical instruments.

Found in Slovenia, the Divje Babe Flute is
considered the world's oldest known musical instrument

In July 1995, Slovenian archaeologist Ivan Turk discovered a bone carving in the northwest region of Slovenia. The carving, named the Divje Babe Flute, features four holes that Canadian musicologist Bob Fink determined could have been used to play four notes of a diatonic scale. Researchers estimate the flute's age at between 43,400 and 67,000 years, making it the oldest known musical instrument and the only musical instrument associated with the Neanderthal culture. However, some archaeologists and ethnomusicologists dispute the flute's status as a musical instrument.[5] German archaeologists have found mammoth bone and swan bone flutes dating back to 30,000 to 37,000 years old in the Swabian Alps. The flutes were made in the Upper Paleolithic age, and are more commonly accepted as being the oldest known musical instruments.

Archaeological evidence of musical instruments was discovered in excavations at the Royal Cemetery in the Sumerian city of Ur. These instruments, one of the first ensembles of instruments yet discovered, include nine lyres ( the Lyres of Ur), two harps, a silver double flute, sistra and cymbals. A set of reed-sounded silver pipes discovered in Ur was the likely predecessor of modern bagpipes. The cylindrical pipes feature three side-holes that allowed players to produce whole tone scales. These excavations, carried out by Leonard Woolley in the 1920s, uncovered non-degradable fragments of instruments and the voids left by the degraded segments that, together, have been used to reconstruct them. The graves these instruments were buried in have been carbon dated to between 2600 and 2500 BC, providing evidence that these instruments were used in Sumeria by this time.

Archaeologists in the Jiahu site of central Henan province of China have found flutes made of bones that date back 7,000 to 9,000 years, representing some of the "earliest complete, playable, tightly-dated, multinote musical instruments" ever found.

Scholars agree that there are no completely reliable methods of determining the exact chronology of musical instruments across cultures. Comparing and organizing instruments based on their complexity is misleading, since advancements in musical instruments have sometimes reduced complexity. For example, construction of early slit drums involved felling and hollowing out large trees; later slit drums were made by opening bamboo stalks, a much simpler task.

German musicologist Curt Sachs, one of the most prominent musicologists and musical ethnologists in modern times, argues that it is misleading to arrange the development of musical instruments by workmanship, since cultures advance at different rates and have access to different raw materials. He maintains, for example, that contemporary anthropologists comparing musical instruments from two cultures that existed at the same time but differed in organization, culture, and handicraft cannot determine which instruments are more "primitive". Ordering instruments by geography is also not totally reliable, as it cannot always be determined when and how cultures contacted one another and shared knowledge.

Sachs proposed that a geographical chronology until approximately 1400 is preferable, however, due to its limited subjectivity. Beyond 1400, one can follow the overall development of musical instruments by time period.

The science of marking the order of musical instrument development relies on archaeological artifacts, artistic depictions, and literary references. Since data in one research path can be inconclusive, all three paths provide a better historical picture.

Two Aztec slit drums (teponaztli). The characteristic "H" slits can be seen on the top of the drum in the foreground.


Primitive and prehistoric
Until the 19th century AD, European-written music histories began with mythological accounts of how musical instruments were invented. Such accounts included Jubal, descendant of Cain and "father of all such as handle the harp and the organ", Pan, inventor of the pan pipes, and Mercury, who is said to have made a dried tortoise shell into the first lyre. Modern histories have replaced such mythology with anthropological speculation, occasionally informed by archeological evidence. Scholars agree that there was no definitive "invention" of the musical instrument since the definition of the term "musical instrument" is completely subjective to both the scholar and the would-be inventor. For example, a Homo habilis slapping his body could be the makings of a musical instrument regardless of the being's intent.

Among the first devices external to the human body that are considered instruments are rattles, stampers, and various drums. These earliest instruments evolved due to the human motor impulse to add sound to emotional movements such as dancing. Eventually, some cultures assigned ritual functions to their musical instruments, using them for hunting and various ceremonies. Those cultures developed more complex percussion instruments and other instruments such as ribbon reeds, flutes, and trumpets. Some of these labels carry far different connotations from those used in modern day; early flutes and trumpets are so-labeled for their basic operation and function rather than any resemblance to modern instruments. Among early cultures for whom drums developed ritual, even sacred importance are the Chukchi people of the Russian Far East, the indigenous people of Melanesia, and many cultures of Africa. In fact, drums were pervasive throughout every African culture. One East African tribe, the Wahinda, believed it was so holy that seeing a drum would be fatal to any person other than the sultan.

Humans eventually developed the concept of using musical instruments for producing a melody. Until this time in the evolutions of musical instruments, melody was common only in singing. Similar to the process of reduplication in language, instrument players first developed repetition and then arrangement. An early form of melody was produced by pounding two stamping tubes of slightly different sizes—one tube would produce a "clear" sound and the other would answer with a "darker" sound. Such instrument pairs also included bullroarers, slit drums, shell trumpets, and skin drums. Cultures who used these instrument pairs associated genders with them; the "father" was the bigger or more energetic instrument, while the "mother" was the smaller or duller instrument. Musical instruments existed in this form for thousands of years before patterns of three or more tones would evolve in the form of the earliest xylophone. Xylophones originated in the mainland and archipelago of Southeast Asia, eventually spreading to Africa, the Americas, and Europe. Along with xylophones, which ranged from simple sets of three "leg bars" to carefully tuned sets of parallel bars, various cultures developed instruments such as the ground harp, ground zither, musical bow, and jaw harp.

Images of musical instruments begin to appear in Mesopotamian artifacts in 2800 BC or earlier. Beginning around 2000 BC, Sumerian and Babylonian cultures began delineating two distinct classes of musical instruments due to division of labor and the evolving class system. Popular instruments, simple and playable by anyone, evolved differently from professional instruments whose development focused on effectiveness and skill. Despite this development, very few musical instruments have been recovered in Mesopotamia. Scholars must rely on artifacts and cuneiform texts written in Sumerian or Akkadian to reconstruct the early history of musical instruments in Mesopotamia. Even the process of assigning names to these instruments is challenging since there is no clear distinction among various instruments and the words used to describe them.

Although Sumerian and Babylonian artists mainly depicted ceremonial instruments, historians have been able to distinguish six idiophones used in early Mesopotamia: concussion clubs, clappers, sistra, bells, cymbals, and rattles. Sistra are depicted prominently in a great relief of Amenhotep III, and are of particular interest because similar designs have been found in far-reaching places such as Tbilisi, Georgia and among the Native American Yaqui tribe. The people of Mesopotamia preferred stringed instruments to any other, as evidenced by their proliferation in Mesopotamian figurines, plaques, and seals. Innumerable varieties of harps are depicted, as well as lyres and lutes, the forerunner of modern stringed instruments such as the violin.

Musical instruments used by the Egyptian culture before 2700 BC bore striking similarity to those of Mesopotamia, leading historians to conclude that the civilizations must have been in contact with one another. Sachs notes that Egypt did not possess any instruments that the Sumerian culture did not also possess. However, by 2700 BC the cultural contacts seem to have dissipated; the lyre, a prominent ceremonial instrument in Sumer, did not appear in Egypt for another 800 years. Clappers and concussion sticks appear on Egyptian vases as early as 3000 BC. The civilization also made use of sistra, vertical flutes, double clarinets, arched and angular harps, and various drums.

Little history is available in the period between 2700 BC and 1500 BC, as Egypt (and indeed, Babylon) entered a long violent period of war and destruction. This period saw the Kassites destroy the Babylonian empire in Mesopotamia and the Hyksos destroy the Middle Kingdom of Egypt. When the Pharaohs of Egypt conquered Southwest Asia in around 1500 BC, the cultural ties to Mesopotamia were renewed and Egypt's musical instruments also reflected heavy influence from Asiatic cultures. Under their new cultural influences, the people of the New Kingdom began using oboes, trumpets, lyres, lutes, castanets, and cymbals.

In contrast with Mesopotamia and Egypt, professional musicians did not exist in Israel between 2000 and 1000 BC. While the history of musical instruments in Mesopotamia and Egypt relies on artistic representations, the culture in Israel produced few such representations. Scholars must therefore rely on information gleaned from the Bible and the Talmud. The Hebrew texts mention two prominent instruments associated with Jubal: the ugab (pipes) and kinnor
(lyre). Other instruments of the period included the tof (frame drum), pa'amon (small bells or jingles), shofar, and the trumpet-like hasosra.

The introduction of a monarchy in Israel during the 11th century BC produced the first professional musicians and with them a drastic increase in the number and variety of musical instruments. However, identifying and classifying the instruments remains a challenge due to the lack of artistic interpretations. For example, stringed instruments of uncertain design called nevals and asors existed, but neither archaeology nor etymology can clearly define them. In her book A Survey of Musical Instruments, American musicologist Sibyl Marcuse proposes that the nevel must be similar to vertical harp due to its relation to nabla, the Phoenician term for "harp".

In Greece, Rome, and Etruria, the use and development of musical instruments stood in stark contrast to those cultures' achievements in architecture and sculpture. The instruments of the time were simple and virtually all of them were imported from other cultures. Lyres were the principal instrument, as musicians used them to honor the gods. Greeks played a variety of wind instruments they classified as aulos (reeds) or syrinx (flutes); Greek writing from that time reflects a serious study of reed production and playing technique. Romans played reed instruments named tibia, featuring side-holes that could be opened or closed, allowing for greater flexibility in playing modes. Other instruments in common use in the region included vertical harps derived from those of the Orient, lutes of Egyptian design, various pipes and organs, and clappers, which were played primarily by women.

Evidence of musical instruments in use by early civilizations of India is almost completely lacking, making it impossible to reliably attribute instruments to the Munda and Dravidian language-speaking cultures that first settled the area. Rather, the history of musical instruments in the area begins with the Indus Valley Civilization that emerged around 3000 BC. Various rattles and whistles found among excavated artifacts are the only physical evidence of musical instruments. A clay statuette indicates the use of drums, and examination of the Indus script has also revealed representations of vertical arched harps identical in design to those depicted in Sumerian artifacts. This discovery is among many indications that the Indus Valley and Sumerian cultures maintained cultural contact. Subsequent developments in musical instruments in India occurred with the Rigveda, or hymns. These songs used various drums, shell trumpets, harps, and flutes. Other prominent instruments in use during the early centuries AD were the snake charmer's double clarinet, bagpipes, barrel drums, cross flutes, and short lutes. In all, India had no unique musical instruments until the Middle Ages.

A Chinese wooden fish,
used in Buddhist recitations

Musical instruments such as zithers appeared in Chinese writings around 12th century BC and earlier. Early Chinese philosophers such as Confucius (551–479 BC), Mencius (372–289 BC), and Laozi shaped the development of musical instruments in China, adopting an attitude toward music similar to that of the Greeks. The Chinese believed that music was an essential part of character and community, and developed a unique system of classifying their musical instruments according to their material makeup.

Idiophones were extremely important in Chinese music, hence the majority of early instruments were idiophones. Poetry of the Shang Dynasty mentions bells, chimes, drums, and globular flutes carved from bone, the latter of which has been excavated and preserved by archaeologists. The Zhou Dynasty saw percussion instruments such as clappers, troughs, wooden fish, and yu (wooden tiger). Wind instruments such as flute, pan-pipes, pitch-pipes, and mouth organs also appeared in this time period. The xiao (an end-blown flute) and various other instruments that spread through many cultures, came into use in China during and after the Han Dynasty.

Although civilizations in Central America attained a relatively high level of sophistication by the eleventh century AD, they lagged behind other civilizations in the development of musical instruments. For example, they had no stringed instruments; all of their instruments were idiophones, drums, and wind instruments such as flutes and trumpets. Of these, only the flute was capable of producing a melody. In contrast, pre-Columbian South American civilizations in areas such as modern-day Peru, Colombia, Ecuador, Bolivia, and Chile were less advanced culturally but more advanced musically. South American cultures of the time used pan-pipes as well as varieties of flutes, idiophones, drums, and shell or wood trumpets.

A young Persian lady playing a ney, painted on
Hasht Behesht walls in Esfahan, Safavid dynasty.

Middle Ages
During the period of time loosely referred to as the Middle Ages, China developed a tradition of integrating musical influence from other regions. The first record of this type of influence is in 384 AD, when China established an orchestra in its imperial court after a conquest in Turkestan. Influences from Middle East, Persia, India, Mongolia, and other countries followed. In fact, Chinese tradition attributes many musical instruments from this period to those regions and countries. Cymbals gained popularity, along with more advanced trumpets, clarinets, oboes, flutes, drums, and lutes. Some of the first bowed zithers appeared in China in the 9th or 10th century, influenced by Mongolian culture.

India experienced similar development to China in the Middle Ages; however, stringed instruments developed differently as they accommodated different styles of music. While stringed instruments of China were designed to produce precise tones capable of matching the tones of chimes, stringed instruments of India were considerably more flexible. This flexibility suited the slides and tremolos of Hindu music. Rhythm was of paramount importance in Indian music of the time, as evidenced by the frequent depiction of drums in reliefs dating to the Middle Ages. The emphasis on rhythm is an aspect native to Indian music. Historians divide the development of musical instruments in medieval India between pre-Islamic and Islamic periods due to the different influence each period provided.

In pre-Islamic times, idiophones such hand bells, cymbals, and peculiar instruments resembling gongs came into wide use in Hindu music. The gong-like instrument was a bronze disk that was struck with a hammer instead of a mallet. Tubular drums, stick zithers (veena), short fiddles, double and triple flutes, coiled trumpets, and curved India horns emerged in this time period. Islamic influences brought new types of drums, perfectly circular or octagonal as opposed to the irregular pre-Islamic drums. Persian influence brought oboes and sitars, although Persian sitars had three strings and Indian version had from four to seven.

An Indonesian metallophone

Southeast Asian musical innovations include those during a period of Indian influence that ended around 920 AD. Balinese and Javanese music made use of xylophones and metallophones, bronze versions of the former. The most prominent and important musical instrument of Southeast Asia was the gong. While the gong likely originated in the geographical area between Tibet and Burma, it was part of every category of human activity in maritime Southeast Asia including Java.

The areas of Mesopotamia and the Arabian Peninsula experiences rapid growth and sharing of musical instruments once they were united by Islamic culture in the seventh century. Frame drums and cylindrical drums of various depths were immensely important in all genres of music. Conical oboes were involved in the music that accompanied wedding and circumcision ceremonies. Persian miniatures provide information on the development of kettle drums in Mesopotamia that spread as far as Java. Various lutes, zithers, dulcimers, and harps spread as far as Madagascar to the south and modern-day Sulawesi to the east.

Despite the influences of Greece and Rome, most musical instruments in Europe during the Middles Ages came from Asia. The lyre is the only musical instrument that may have been invented in Europe until this period. Stringed instruments were prominent in Middle Age Europe. The central and northern regions used mainly lutes, stringed instruments with necks, while the southern region used lyres, which featured a two-armed body and a crossbar. Various harps served Central and Northern Europe as far north as Ireland, where the harp eventually became a national symbol. Lyres propagated through the same areas, as far east as Estonia.

European music between 800 and 1100 became more sophisticated, more frequently requiring instruments capable of polyphony. The 9th-century Persian geographer Ibn Khordadbeh mentioned in his lexicographical discussion of music instruments that, in the Byzantine Empire, typical instruments included the urghun (organ), shilyani (probably a type of harp or lyre), salandj (probably a bagpipe) and the lyra. The Byzantine lyra, a bowed string instrument, is an ancestor of most European bowed instruments, including the violin.

The monochord served as a precise measure of the notes of a musical scale, allowing more accurate musical arrangements. Mechanical hurdy-gurdies allowed single musicians to play more complicated arrangements than a fiddle would; both were prominent folk instruments in the Middle Ages. Southern Europeans played short and long lutes whose pegs extended to the sides, unlike the rear-facing pegs of Central and Northern European instruments. Idiophones such as bells and clappers served various practical purposes, such as warning of the approach of a leper.

The ninth century revealed the first bagpipes, which spread throughout Europe and had many uses from folk instruments to military instruments. The construction of pneumatic organs evolved in Europe starting in fifth-century Spain, spreading to England in about 700. The resulting instruments varied in size and use from portable organs worn around the neck to large pipe organs. Literary accounts of organs being played in English Benedictine abbeys toward the end of the tenth century are the first references to organs being connected to churches. Reed players of the Middle Ages were limited to oboes; no evidence of clarinets exists during this period.


Musical instrument development was dominated by the Occident from 1400 on, indeed, the most profound changes occurred during the Renaissance period. Instruments took on other purposes than accompanying singing or dance, and performers used them as solo instruments. Keyboards and lutes developed as polyphonic instruments, and composers arranged increasingly complex pieces using more advanced tablature. Composers also began designing pieces of music for specific instruments. In the latter half of the sixteenth century, orchestration came into common practice as a method of writing music for a variety of instruments. Composers now specified orchestration where individual performers once applied their own discretion. The polyphonic style dominated popular music, and the instrument makers responded accordingly.

The Duet, by Dutch painter Cornelis Saftleven, c. 1635

Beginning in about 1400, the rate of development of musical instruments increased in earnest as compositions demanded more dynamic sounds. People also began writing books about creating, playing, and cataloging musical instruments; the first such book was Sebastian Virdung's 1511 treatise Musica getuscht und ausgezogen ('Music Germanized and Abstracted'). Virdung's work is noted as being particularly thorough for including descriptions of "irregular" instruments such as hunters' horns and cow bells, though Virdung is critical of the same. Other books followed, including Arnolt Schlick's Spiegel der Orgelmacher und Organisten ('Mirror of Organ Makers and Organ Players') the following year, a treatise on organ building and organ playing. Of the instructional books and references published in the Renaissance era, one is noted for its detailed description and depiction of all wind and stringed instruments, including their relative sizes. This book, the Syntagma musicum by Michael Praetorius, is now considered an authoritative reference of sixteenth-century musical instruments.

In the sixteenth century, musical instrument builders gave most instruments – such as the violin – the "classical shapes" they retain today. An emphasis on aesthetic beauty also developed; listeners were as pleased with the physical appearance of an instrument as they were with its sound. Therefore, builders paid special attention to materials and workmanship, and instruments became collectibles in homes and museums. It was during this period that makers began constructing instruments of the same type in various sizes to meet the demand of consorts, or ensembles playing works written for these groups of instruments.

Instrument builders developed other features that endure today. For example, while organs with multiple keyboards and pedals already existed, the first organs with solo stops emerged in the early fifteenth century. These stops were meant to produce a mixture of timbres, a development needed for the complexity of music of the time. Trumpets evolved into their modern form to improve portability, and players used mutes to properly blend into chamber music.

Baroque mounted Jacob Stainer violin from 1658

Beginning in the seventeenth century, composers began creating works of a more emotional style. They felt that a monophonic style better suited the emotional music and wrote musical parts for instruments that would complement the singing human voice. As a result, many instruments that were incapable of larger ranges and dynamics, and therefore were seen as unemotional, fell out of favor. One such instrument was the shawm. Bowed instruments such as the violin, viola, baryton, and various lutes dominated popular music. Beginning in around 1750, however, the lute disappeared from musical compositions in favor of the rising popularity of the guitar. As the prevalence of string orchestras rose, wind instruments such as the flute, oboe, and bassoon were readmitted to counteract the monotony of hearing only strings.

In the mid-seventeenth century, what was known as a hunter's horn underwent transformation into an "art instrument" consisting of a lengthened tube, a narrower bore, a wider bell, and much wider range. The details of this transformation are unclear, but the modern horn or, more colloquially, French horn, had emerged by 1725. The slide trumpet appeared, a variation that includes a long-throated mouthpiece that slid in and out, allowing the player infinite adjustments in pitch. This variation on the trumpet was unpopular due to the difficulty involved in playing it. Organs underwent tonal changes in the Baroque period, as manufacturers such as Abraham Jordan of London made the stops more expressive and added devices such as expressive pedals. Sachs viewed this trend as a "degeneration" of the general organ sound.

Classical and Romantic
During the Classical and Romantic periods of music, lasting from roughly 1750 to 1900, a great deal of musical instruments capable of producing new timbres and higher volume were developed and introduced into popular music. The design changes that broadened the quality of timbres allowed instruments to produce a wider variety of expression. Large orchestras rose in popularity and, in parallel, the composers determined to produce entire orchestral scores that made use of the expressive abilities of modern instruments. Since instruments were involved in collaborations of a much larger scale, their designs had to evolve to accommodate the demands of the orchestra.

Some instruments also had to become louder to fill larger halls and be heard over sizable orchestras. Flutes and bowed instruments underwent many modifications and design changes—most of them unsuccessful—in efforts to increase volume. Other instruments were changed just so they could play their parts in the scores. Trumpets traditionally had a "defective" range—they were incapable of producing certain notes with precision. New instruments such as the clarinet, saxophone, and tuba became fixtures in orchestras. Instruments such as the clarinet also grew into entire "families" of instruments capable of different ranges: small clarinets, normal clarinets, bass clarinets, and so on.

Accompanying the changes to timbre and volume was a shift in the typical pitch used to tune instruments. Instruments meant to play together, as in an orchestra, must be tuned to the same standard lest they produce audibly different sounds while playing the same notes. Beginning in 1762, the average concert pitch began rising from a low of 377 vibrations to a high of 457 in 1880 Vienna. Different regions, countries, and even instrument manufacturers preferred different standards, making orchestral collaboration a challenge. Despite even the efforts of two organized international summits attended by noted composers like Hector Berlioz, no standard could be agreed upon.

Early Fender electric guitars

Twentieth century to present
The evolution of traditional musical instruments slowed beginning in the twentieth century. Instruments like the violin, flute, french horn, harp, and so on are largely the same as those manufactured throughout the eighteenth and nineteenth centuries. Gradual iterations do emerge; for example, the "New Violin Family" began in 1964 to provide differently sized violins to expand the range of available sounds. The slowdown in development was practical response to the concurrent slowdown in orchestra and venue size. Despite this trend in traditional instruments, the development of new musical instruments exploded in the twentieth century. The sheer variety of instruments developed overshadows any prior period.

The proliferation of electricity in the twentieth century lead to the creation of an entirely new category of musical instruments: electronic instruments, or electrophones. The vast majority of electrophones produced in the first half of the twentieth century were what Sachs called "electromechanical instruments". In other words, they have mechanical parts that produce sound vibrations, and those vibrations are picked up and amplified by electrical components. Examples of electromechanical instruments include Hammond organs and electric guitars.[109] Sachs also defined a subcategory of "radioelectric instruments" such as the theremin, which produces music through the player's hand movements around two antennas.

The latter half of the twentieth century saw the gradual evolution of synthesizers—instruments that artificially produce sound using analog or digital circuits and microchips. In the late 1960s, Bob Moog and other inventors began an era of development of commercial synthesizers. One of the first of these instruments was the Moog synthesizer. The modern proliferation of computers and microchips has spawned an entire industry around electronic musical instruments.

There are many different methods of classifying musical instruments. Various methods examine aspects such as the physical properties of the instrument (material, color, shape, etc.), the use for the instrument, the means by which music is produced with the instrument, the range of the instrument, and the instrument's place in an orchestra or other ensemble. Most methods are specific to a geographic area or cultural group and were developed to serve the unique classification requirements of the group. The problem with these specialized classification schemes is that they tend to break down once they are applied outside of their original area. For example, a system based on instrument use would fail if a culture invented a new use for the same instrument. Scholars recognize Hornbostel-Sachs as the only system that applies to any culture and, more important, provides only possible classification for each instrument.

Ancient systems
An ancient system named the Natya Shastra, written by the sage Bharata Muni and dating from between 200 BC and 200 AD, divides instruments into four main classification groups: instruments where the sound is produced by vibrating strings; percussion instruments with skin heads; instruments where the sound is produced by vibrating columns of air; and "solid", or non-skin, percussion instruments. This system was adapted to some degree in 12th-century Europe by Johannes de Muris, who used the terms tensibilia (stringed instruments), inflatibilia (wind instruments), and percussibilia (all percussion instruments). In 1880, Victor-Charles Mahillon adapted the Natya Shastra and assigned Greek labels to the four classifications: chordophones (stringed instruments), membranophones (skin-head percussion instruments), aerophones (wind instruments), and autophones (non-skin percussion instruments).

Erich von Hornbostel and Curt Sachs adopted Mahillon's scheme and published an extensive new scheme for classification in Zeitschrift für Ethnologie in 1914. Hornbostel and Sachs used most of Mahillon's system, but replaced the term autophone with idiophone.

The original Hornbostel-Sachs system classified instruments into four main groups:

Idiophones, which produce sound by vibrating the primary body of the instrument itself; they are sorted into concussion, percussion, shaken, scraped, split, and plucked idiophones, such as claves, xylophone, guiro, slit drum, mbira, and rattle.

Membranophones, which produce sound by a vibrating a stretched membrane; they may be drums (further sorted by the shape of the shell), which are struck by hand, with a stick, or rubbed, but kazoos and other instruments that use a stretched membrane for the primary sound (not simply to modify sound produced in another way) are also considered membranophones.

Chordophones, which produce sound by vibrating one or more strings; they are sorted into according to the relationship between the string(s) and the sounding board or chamber. For example, if the strings are laid out parallel to the sounding board and there is no neck, the instrument is a zither whether it is plucked like an autoharp or struck with hammers like a piano. If the instrument has strings parallel to the sounding board or chamber and the strings extend past the board with a neck, then the instrument is a lute, whether the sound chamber is constructed of wood like a guitar or uses a membrane like a banjo.

Aerophones, which produce a sound with a vibrating column of air; they are sorted into free aerophones such as a bullroarer or whip, which move freely through the air; flutes, which cause the air to pass over a sharp edge; reed instruments, which use a vibrating reed; and lip-vibrated aerophones such as trumpets, for which the lips themselves function as vibrating reeds.

Sachs later added a fifth category, electrophones, such as theremins, which produce sound by electronic means.[109] Within each category are many subgroups. The system has been criticised and revised over the years, but remains widely used by ethnomusicologists and organologists.

Andre Schaeffner, a curator at the Musée de l'Homme, disagreed with the Hornbostel-Sachs system and developed his own system in 1932. Schaeffner believed that the pure physics of a musical instrument, rather than its specific construction or playing method, should always determine its classification. (Hornbostel-Sachs, for example, divide aerophones on the basis of sound production, but membranophones on the basis of the shape of the instrument). His system divided instruments into two categories: instruments with solid, vibrating bodies and instruments containing vibrating air.

Musical instruments are also often classified by their musical range in comparison with other instruments in the same family. This exercise is useful when placing instruments in context of an orchestra or other ensemble.

These terms are named after singing voice classifications:

Soprano instruments: flute, violin, soprano saxophone, trumpet, clarinet, oboe, piccolo

Alto instruments: alto saxophone, french horn, english horn, viola, alto horn

Tenor instruments: trombone, tenor saxophone, guitar, tenor drum

Baritone instruments: bassoon, baritone saxophone, bass clarinet, cello, baritone horn, euphonium

Bass instruments: double bass, bass guitar, bass saxophone, tuba, bass drum

Some instruments fall into more than one category: for example, the cello may be considered tenor, baritone or bass, depending on how its music fits into the ensemble, and the trombone may be alto, tenor, baritone, or bass and the French horn, bass, baritone, tenor, or alto, depending on the range it is played in. Many instruments have their range as part of their name: soprano saxophone, tenor saxophone, baritone horn, alto flute, bass guitar, etc. Additional adjectives describe instruments above the soprano range or below the bass, for example: sopranino saxophone, contrabass clarinet. When used in the name of an instrument, these terms are relative, describing the instrument's range in comparison to other instruments of its family and not in comparison to the human voice range or instruments of other families. For example, a bass flute's range is from C3 to F♯6, while a bass clarinet plays about one octave lower.

The materials used in making musical instruments vary greatly by culture and application. Many of the materials have special significance owing to their source or rarity. Some cultures worked substances from the human body into their instruments. In ancient Mexico, for example, the material drums were made from might contain actual human body parts obtained from sacrificial offerings. In New Guinea, drum makers would mix human blood into the adhesive used to attach the membrane. Mulberry trees are held in high regard in China owing to their mythological significance—instrument makers would hence use them to make zithers. The Yakuts believe that making drums from trees struck by lightning gives them a special connection to nature.

Musical instrument construction is a specialized trade that requires years of training, practice, and sometimes an apprenticeship. Most makers of musical instruments specialize in one genre of instruments; for example, a luthier makes only stringed instruments. Some make only one type of instrument such as a piano. Whatever the instrument constructed, the instrument maker must consider materials, construction technique, and decoration, creating a balanced instrument that is both functional and aesthetically pleasing. Some builders are focused on a more artistic approach and develop experimental musical instruments, often meant for individual playing styles developed by the builder himself.

User interfaces
Regardless of how the sound in an instrument is produced, many musical instruments have a keyboard as the user-interface. Keyboard instruments are any instruments that are played with a musical keyboard. Every key generates one or more sounds; most keyboard instruments have extra means (pedals for a piano, stops and a pedal keyboard for an organ) to manipulate these sounds. They may produce sound by wind being fanned (organ) or pumped (accordion), vibrating strings either hammered (piano) or plucked (harpsichord),] by electronic means (synthesizer), or in some other way. Sometimes, instruments that do not usually have a keyboard, such as the glockenspiel, are fitted with one. Though they have no moving parts and are struck by mallets held in the player's hands, they have the same physical arrangement of keys and produce soundwaves in a similar manner.

From Wikipedia, the free encyclopedia

The First Instrument

40,000 year old flute from the site of Geißenklösterle made from bird bones.
The University of Tübingen


The capacity of the human voice for communication one of the most extraordinary aspects of our being distinguishes us from all other creatures on earth. Through the ability to cause controlled changes of pitch to sing the voice is the most ancient, universal, and sophisticated of all musical instruments. Singing is as old as the earliest civilized cultures. According to the Old Testament Book of Exodus, Moses and the Israelites sang their praises to Ciod on being delivered from the Egyptians believed to have been in the thirteenth century не. The Ancient Greeks sang in worship and in the theatre, as did the Romans; and with the advent of Christianity the ancient Jewish tradition of chanting the Psalms of David passed into Christian worship too. It is this link with [udaeo-Christian worship that binds many strands of vocal musical history in the Western world, from plamchant to oratorio, from chanting monks to church choirs and choral societies.

Monks, troubadours, and Paris polyphony

It was the monks of the Middle Ages who first wrote music down m a form that could be transmitted accurately over generations. They committed to paper the previously purely oral tradition, the practice of chanting plamchant. The earliest vocal music to survive as notation is therefore biased towards religious music; church authorities did not encourage notation of non-religious music; and secular music folk songs, ballads, courtly ditties was in any case predominantly improvised.

Until the ninth century every mode of singing was mono-phonic meaning, literally, a single line of sound. The earliest known reference to the coming together of two separate voices is from about ad 860 in north-eastern France. Referred to as organurn, it coupled a line of plamchant with another voice at a different pitch. A major stage in the development of this multi-voiced music ("polyphony") came at the end of the twelfth century when the French composer Perotin, based in Pans at the time the ureat cathedral of Notre Dame was built, wrote the first music for three and four separate voices. From this came the glories of medieval and Renaissance church music, and the rise of the singer as preeminent musician.

The growth of the choir

The singers who were given the task of performing this early polyphony were, of necessity, specialists. Almost certainly, therefore, each part was performed by a single singer. In large monastic establishments, with singing "clerks" numbering 50, the majority sang only the monophonic plamchant. By the beginning of the fourteenth century, a polyphonic choral style had developed in England and northern Europe to the point where the complexities of this multi-lined music had become tamihar, and small choirs began to pertorm it instead of soloists. The wealth and influence of the Church in late medieval society remain apparent all over Europe in the grandeur of its cathedrals, abbeys, and monasteries. As buildings became more architecturally ambitious, so the provision for music became more generous. Choirs increased steadily in size throughout the fifteenth and sixteenth centuries, and the music written tor them became more elaborate as demonstrated by Thomas Tallis's motet for 40 voices (eight choirs of five parts) Spent in Alitmi. In England, especially, many choral foundations were established during this time in cathedrals and collegiate chapels; establishments still renowned for choral music, such as Westminster Abbey, Canterbury Cathedral, and King's College, Cambridge.
In medieval and Renaissance times it was singers from the Low Countries and France whose expertise was most admired; in tact many were specially employed in court chapels and cathedrals all over Europe, particularly in
Italy. It was not uncommon tor this new type ot travelling professional singer to compose as well, and the most distinguished of them included Ockeghem, Dutay. Brumel. Obrecht, and Josquin Desprez. No period of musical history since has tied singing and composing so closely to one another.

Madrigals, opera, and castrati
It was the following generation of Franco-Flemish composers in Italy - Verdelot, Willaert, and Jannequin - that introduced the earliest madrigals, the major secular vocal form of the sixteenth century. Settings of both the elevated courtly love poetry of Petrarch and more emotional, down-to-earth verse created a style of music that was at once highly accessible, expressive, and changeable in mood. Such need tor musical drama was one of the reasons why the vocal ranges m this genre became greatly extended. Medieval plainchant had required of its male singers a range of merely one octave, and the polyphonic writing ot subsequent centuries rarely asked its performers — boy sopranos, adult male altos, tenors, and basses — to sing particularly high or low. Through the late sixteenth-century madrigal, the high female voice found appreciation for the first time. This was particularly so in Italy, and at the noble court of Ferrara a specially trained ensemble of female singers became famous for its virtuosity.
This new taste for the high voice posed problems for the church, which forbade women to sing in acts of worship. Choirs in the English post-Reformation church relied on pre-pubescent boys to sing the top line; the Roman Catholic church in sixteenth-century Italy used falsettists from Spain, specializing in the soprano register. Falsetto, a means of voice production for the adult male, whereby an artificially high voice is created, is inevitably limited in its range and flexibility. Another solution — perhaps the most extraordinary phenomenon in the history of music - was the castrato, a male singer castrated before puberty to preserve his high voice. The first acknowledgment of a castrated male on the payroll of the Sistine Choir in Rome was in 1599. and despite the serious moral questions that this operation raised, such singers became a crucial element of Catholic choirs m Europe over the next two centuries. (In the churches of Rome alone, more than 200 castrati were employed in 17SO; the last eunuch singer retired from the Sistine Chapel in 1913.)

Castrati were not confined to ecclesiastical environments; they became a mainstay of the tastest-growmg and most influential secular genre of the seventeenth century; opera. Opera required a more conspicuous, virtuoso type ot singer, and the castrato was particularly suited to this new mode of vocal performance. Although the vocal apparatus remained immature as a result of emasculation, the rest of the body — in particular the chest — grew to a great size. Thus the main area of vocal production and support, the lungs and diaphragm, developed great power and stamina, enabling the singer to produce sounds of unprecedented volume, intensity, and control. The castrati became the first real singing stars. The finest, such as Farinelli. Senesmo. and Cuadagni, enjoyed international careers in the manner of modern opera stars. Despite their unusual sexuality they were adored on and off stage.

Oratorio and the choral society

Sacred music in the seventeenth and eighteenth centuries was greatly influenced by opera, the most notable development being the oratorio. With origins, in early seventeenth-century Rome, the oratorio dealt with religious subjects, and took full advantage of a new form of sung story-telling, the recitative. As opera developed into a systematic interplay of recitative and -the more lyrical aria, so too did the sacred oratorio, culminating in the works of Alessandro Scarlatti at the beginning of the eighteenth century. The young Handel heard such works in Rome and it was this influence, together with English church music and a background in Lutheran Passion music, that he later fused in such glorious works as the Messiah andjephtha.

Meanwhile, in Germany, sacred music in the Protestant Lutheran Church emphasized congregational singing (chorales, the immediate ancestors of hymns) and the composition of Passion settings. The dramatic nature of the Italian oratorio did not really affect German religious music until an opera house opened in Hamburg in the 1670s. Choral interjections were added to the recitative-aria pattern - an influence drawn from the Passion settings and this style reached its most sophisticated and sublime form in the Passions and church cantatas or J.S. Bach, written primarily in Leipzig.

Bach's sacred music was intended for performance as worship. Handel's oratorios, with their operatic roots, were invariably performed in theatres. The tendency tor sacred music to be performed outside its "natural" environment became more and more pronounced m the following decades, as religious music steadily became an important part of the late eightecnth-and nineteenth-century phenomenon of concert-going.

The advance of the public concert was made possible by the rise of the middle classes and the resulting emancipation of music from the confines of religion and the nobility. With this came the development of music-making in a broader context, involving non-specialist amateurs. The greatest example of this, which still influences musical life today, is the choral society. These developed first in Germany and 13ntam. and had their origins m workers' co-operatives and the choirs of parish churches and nonconformist chapels. During the nineteenth century, a distinction grew between the highly trained professional solo singer and the ranks of keen amateur choral singers. In this environment the descendant of Handel's oratorios - the large-scale concert oratorio flourished. A succession of works, from Mozart's Requiem. Haydn's Creation, Beethoven s Missa Solei/inii and Mendelssohn's Ulijah, to the hugely scored and unashamedly dramatic Requiems of Berlioz and Verdi, has provided the modern choral society with a corpus of master-pieces. In the twentieth century', perhaps influenced by Handel's pioneering work in this genre, the oratorio has been most extensively developed in Britain, with notable contributions by Elgar, Walton, Britten, and Tippett.


The voice as agent of change

The phenomenal vocal feats of the castrato had created an entirely new awareness ot the mechanics of voice production. Until the seventeenth century, it is likely that the technical aspects of singing were undeveloped, and relied on production only from the throat and the head. From around 1 600. with the dawn of opera, the process of developing greater power, projection and stamina, different colours, and extended ranges had been constant, concentrating in the nineteenth century on diaphragmatic support and the use of resonating spaces in the head and chest. As singers achieved this, composers inevitably wrote music to exploit such skills. This is nowhere more apparent than m the renowned role of Queen of the Night in Mozart's Xlagic flute, in which the soprano singer is required to negotiate a stratosphencally high line featuring several top Fs.

The reverse process has also occurred, with certain musical developments causing singers to adapt their technique accordingly. Examples in the late eighteenth and nineteenth centuries include the gradual heightening ot "concert" pitch (making notes higher tor the singer); the technological developments in instrument-making, making instruments louder and brighter; the steady increase in the size of the orchestra; and the increase in size of opera houses and concert halls. All had a crucial bearing on the development of singing technique: consider the vast difference between being a choir member singing Renaissance church music, unaccompanied and in a church acoustic with generous reverberation, and a soloist pitched against a full-sized symphony orchestra in a large concert hall with a variable acoustic.

The latter problem was tackled in opera by moving the orchestra into a "pit", sunk below the level of the audience (early opera orchestras had generally been placed at the side of" the stage). The huge orchestras of Wagner's and Richard Strauss's operas necessitated extreme treatment to allow the singers selected tor the weight and colour ot their voices to be heard. Wagner's opera house at Bayreuth is the finest example ot a performance hall built specifically tor a certain repertoire; it features a deeply recessed orchestra pit. with the loud brass instruments set way back from the conductor and far beneath the singers on stage.

Italian opera in the early nineteenth century placed great demands not so much on the size of a singer's voice as on its agility. The coloratura writing of Rossini, Bellini, and Donizetti requires extraordinary virtuosity, asking the voice to alter pitch with great speed and deftness. With the operas of Verdi, the emphasis shifted from athletic vocal display to expressive intensity and dramatic power: such roles require heavier and brighter voices. For the first time, different voice types were named according to their suitability for the demands of a particular role. The German term Hcldeuteiior. for example, refers to the voice required for most of Wagner's tenor roles (such as Lohengrin, Tristan, Siegmund, and Siegfried), stipulating a powerful voice of substantial range and a stamina able to withstand the demands of Wagner's long scores.

The use of the singing voice has further diversified in our own century. The advent of Enrico Caruso brought a change in operatic voice production, caused partly by the growing size of theatres, with a new emphasis on power. The tendency has continued to the present day with such tenors as Gigli. Domingo, and Rivarotti, and sopranos such as Maria Callas. Most recently, the voice has had to acquire new disciplines, such as Spnxli$e.<cinx (a type of vocal performance between speech and song) m Schoenberg's Pierrot lunaire; and in the works of avant-garde composers has adapted to even wider interpretations of the word "singing" — from screaming, humming, and coughing to generating harmonics and microtones (pitches lying in between the notes ot the traditional scale). All these fill under the heading "extended vocal techniques." And, crucially, the voice has been recorded, allowing the individual voice to live on after the decline and death of the vocalist.

Today, choral societies exist alongside specialist chamber choirs. The music of the Roman Catholic Church, with a tew notable exceptions, is now a mere shadow of its former glory, while the Anglican choral tradition continues to flourish, despite an increasingly secular society. A modern opera star may record chart-toppers in duets with pop singers and perform to thousands in parks and stadiums. And yet, amid all the evidence of immense change over the centuries, one can travel to the monasteries of Europe and still hear monks singing plamchant. hardly altered until the Middle Ages.