See also:

• AULOS (Gr. abXos; Lat. tibia; Egyptian hieroglyphic, Ma-it ; medieval equivalents, shalm, chalumeau, schalmei, hautbois)

AULOS (Gr. abXos; See also:

• LAT

Lat. See also:

• TIBIA

tibia; See also:

• EGYPTIAN

Egyptian hieroglyphic, Ma-it ; See also:

• MEDIEVAL

medieval equivalents, shalm, chalumeau, schalmei, hautbois)  , in See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek antiquities, a class of See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood-See also:

• WIND
• WIND (a common Teut. word, cognate with Skt. vats, Lat. ventus, cf. " weather," to be of course distinguished from to " wind," to coil or twist, O.Eng. windan, cf. "wander," "wend," &c.)

wind See also:

• INSTRUMENTS

instruments with single or with See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double See also:

• REED
• REED, ANDREW (1787-1862)
• REED, ISAAC (1742—1807)
• REED, JOSEPH (1741—1785)
• REED, THOMAS BRACKETT (1839—1902)

reed See also:

• MOUTHPIECE (Fr. embouchure; Ger. Mundstuck; Ital. bocchino)

mouthpiece and either cylindrical or conical See also:

• BORE

bore, thus corresponding to both See also:

• OBOE, or HAUTBOY (Fr. hautbois, Ger. Hoboe, Ital. oboe)

oboe and See also:

• CLARINET
• CLARINET, or CLARIONET (Fr. clarinette; Ger. Clarinette, Klarinett; Ital. clarinetto, chiarinetto)

clarinet . In its widest acceptation the See also:

• AULOS (Gr. abXos; Lat. tibia; Egyptian hieroglyphic, Ma-it ; medieval equivalents, shalm, chalumeau, schalmei, hautbois)

aulos was a generic See also:

• TERM

term for instruments consisting of a See also:

• TUBE (Lat. tuba)

tube in which the See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air See also:

• COLUMN (Lat. columna)

column was set in vibration either directly by the lips of the performer, or through the See also:

• MEDIUM

medium of a mouthpiece containing a single or a double reed . Even the pipes of the See also:

• PAN (" pasturer ")
• PAN (common in various forms to many Teutonic languages, cf. Ger. Pfanne; it is generally taken to be an early adaptation in a shortened form of Lat. patina, shallow bowl or dish, from patere, to lie open)

pan-pipes (See also:

• SYRINX (ovpryE)

syrinx polycalamus,' vuptyE iroXurc&Xapos) were sometimes called auloi (abXoi) . The aulos is also the earliest prototype of the See also:

• ORGAN

organ, which, by See also:

• GRADUAL (Med. Lat. gradualis, of or belonging to steps or degrees; gradus, step)

gradual assimilation of the principles of syrinx and bag-See also:

• PIPE

pipe, reached ' See See also:

• POLLUX, JULIUS
• POLLUX, or POLLUCITE

Pollux, Onom. iv . 69 . the See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage at which it became known as the Tyrrhenian aulos (Pollux iv . 70) or the hydraulos, according to the method of compressing the wind See also:

• SUPPLY (through Fr. from Lat. supplere, to fill up)

supply (see ORGAN: See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

Early See also:

• HISTORY

History ; and SYRINX) . The aulos in its earliest See also:

• FORM (Lat. forma)

form, the reed pipe, during the best classical See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period had a cylindrical bore (KoiXia) like that of the See also:

• MODERN

modern clarinet, and therefore had the acoustic properties of the stopped pipe, whether the air column was set in vibration by means of a single or of a double reed, for the mouth-piece does not affect the See also:

• HARMONIC

harmonic See also:

• SERIES (a Latin word from serere, to join)

series.' To the acoustic properties of open or stopped pipes are due those essential See also:

• DIFFERENCES, CALCULUS OF (Theory of Finite Differences)

differences which underlie the See also:

• CLASSIFICATION (Lat. classis, a class, probably from the root cal-, cla-, as in Gr. icaMce, clamor)

classification of modern wind instruments . A stopped pipe produces its fundamental See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone one See also:

• OCTAVE (from Lat. octavus, eighth, octo, eight)

octave See also:

• LOWER

lower than the tone of an open pipe of corresponding length, and overblows the harmonics of the twelfth, and of the third above the second octave of the fundamental tone, i.e. the See also:

• ODD (in middle English odde, from old Norwegian oddi, an angle of a triangle; the old Norwegian oddamann is used of the third man who gives a casting vote in a dispute)

odd See also:

• NUMBERS, BOOK OF
• NUMBERS, PARTITION OF

numbers of the series; whereas the open pipe gives the whole series of harmonics, the octave, the twelfth, the double octave, and the third above it, &c . To produce the diatonic See also:

• SCALE
• SCALE (1) A

scale throughout the octaves of its See also:

• COMPASS (Fr. corn pas, ultimately from Lat. cum, with, and passus, step)

compass, the stopped pipe requires eleven lateral holes in the See also:

• SIDE
• SIDE (mod. Eski Adalia)

side of the pipe, at appropriate distances from each other, and from the end of the pipe, whereas the open pipe requires but six . The acoustic properties of the open pipe can only be secured in See also:

• COMBINATION (Lat. combinare, to combine)

combination with a reed mouthpiece by making the bore conical . The See also:

• LATE

late See also:

• ROMANS
• ROMANS, EPISTLE TO THE

Romans (and therefore we may perhaps assume the Greeks also, since the Romans acknowledge their indebtedness to the Greeks in matters See also:

• RELATING

relating to musical instruments, and more especially to the See also:

• CITHARA (Assyrian chetarah; Gr. KcOhpa; Lat, cithara; perhaps Heb. kinura, kinnor)

cithara and aulos) under-stood the acoustic principle utilized to-See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day in making wind instruments, that a hole of small See also:

• DIAMETER (from the Cr. &a, through, µErpov, measure)

diameter nearer the mouthpiece may be substituted for one of greater diameter in the theoretically correct position .

This is demonstrated by the 4th- See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century grammarian See also:

• MACROBIUS, AMBROSIUS THEODOSIUS

Macrobius, who says (See also:

• COMM

Comm. in Somn . Scip. ii . 4, 5) : " Nec secus probamus in tibiis, de quarum foraminibus vicinis inflantis on sonus acutus emittitur, de longinquis autem et termino proximis gravior; See also:

• ITEM (a Latin adverb meaning " also," " likewise ")

item acutior per patentiora foramina, gravior per angusta " (see See also:

• BASSOON
• BASSOON (Fr. basson; Ger. Fagott; Ital. fagotto)

BASSOON) . See also:

• ARISTOTLE
• ARISTOTLE (384-322 B.C.)

Aristotle gives directions for See also:

• BORING

boring holes in the aulos, which would apply only to a pipe of cylindrical bore (Probl. xix . 23) . At first the aulos had but three or four holes; to Diodorus of See also:

• THEBES (anciently &Oat, Thebae, or in poetry sometimes Oif3a, in modern Greek Phiva, or, according to the corrected pronunciation, Thivae)
• THEBES (e 3a1)
• THEBES, ROMANCE OF

Thebes is due the See also:

• CREDIT (Lat. credere, to believe)

credit of having increased this number (Pollux iv . 8o) . Pronomus, the musician, and teacher of See also:

• ALCIBIADES (c. 450-404 B.c.)

Alcibiades (5th century B.C.), further improved the aulos by making it possible to See also:

• PLAY

play on one pair of instruments the three musical scales in use at his See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time, the Dorian, the Phrygian, and the Lydian, whereas previously a See also:

• SEPARATE

separate pair of pipes had been used for each scale (See also:

• PAUSANIAS

Pausanias ix . 12 . 5; See also:

• ATHENAEUS

Athenaeus xiv . 31) . These three modes would require a compass of a tenth in See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to produce the fundamental octave in each .

There are two ways in which this increased compass might have been obtained: (1) by increasing the number of holes and covering up those not required, (2) by means of contrivances for lowering the See also:

• PITCH
• PITCH, MUSICAL

pitch of individual notes as required . We have See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence that both means were known to the Greeks and Romans . The simplest See also:

• DEVICE

device for closing holes not in use was a See also:

• BAND

band of See also:

• METAL
• METAL (through Fr. from Lat. metallum, mine, quarry, adapted from Gr. µATaXAov, in the same sense, probably connected with ,ueraAAdv, to search after, explore, µeTa, after, aAAos, other)

metal See also:

• LEFT

left See also:

• FREE

free to slide See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round the pipe, and having a hole bored through it corresponding in diameter with the hole in the pipe . Each hole was provided with a band, which was in some cases prevented from slipping down the pipe by narrow fixed rings of metal . The See also:

• LINE

line on fig . 1 between r and s is thought to have been one of these rings . Some pipes had two holes pierced through the bands and the See also:

• BONE (a word common in various forms to Teutonic languages, in many of which it is confined to the shank of the leg, as in the German Bein)
• BONE, HENRY (1755-1834)

bone, in such a manner that only one could be exposed at a time . This is clearly shown in the See also:

• DIAGRAM

diagram (fig . 1) of fragments of an aulos from the museum at See also:

• CANDIA

Candia, for which the writer is greatly indebted to See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

Professor See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John L . Myres, by whom measured drawings were made from the See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument in 1893 . These highly interesting remains, judging from the closed end (5), seem to belong to a side-blown reed-pipe similar to the Maenad pipes in the Castellani collection at the See also:

• BRITISH

British Museum, illus- ' See See also:

• FRIEDRICH, JOHANN (1836— )

Friedrich Zamminer, See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

Die Musik and die musikalischen Instrumente in ihrer Beziehung zu den Gesetzen der Akustik (See also:

• GIESSEN

Giessen, 1855), p . 305.trated below; they are constructed like modern flutes, but played by means of a reed inserted into the lateral embouchure .

In the Candia pipe, it seems likely that Nos. i and 2 represented the See also:

• BELL
• BELL, ALEXANDER MELVILLE (1819—1905)
• BELL, ANDREW (1753—1832)
• BELL, GEORGE JOSEPH (1770-1843)
• BELL, HENRY (1767-1830)
• BELL, HENRY GLASSFORD (1803-1874)
• BELL, JACOB (1810-1859)
• BELL, JOHN (1691-178o)
• BELL, JOHN (1763-1820)
• BELL, JOHN (1797-1869)
• BELL, ROBERT (1800-1867)
• BELL, SIR CHARLES (1774—1842)

bell end, slightly See also:

• EXPANDED

expanded, No . 3 joining the broken end of No . 2 at 1; there being a possible See also:

• FIT

fit at the other end at s with a in No . 4 (the drawings must in this See also:

• CASE
• CASE, JOHN (d. 1600)

case be imagined as reversed for parts 3 and 4), and No . 5 joining on to No . 4 at k . According to Professor Myres there are fragments of a pair of pipes in the See also:

• CYPRUS
• CYPRUS, CHURCH OF

Cyprus Museum of precisely the same construction as the one in Candia . In the See also:

• DRAWING

drawing, the shape and relative position of the holes on the circumference is approximate only, but their position lengthways is measured . Bands of See also:

• SILVER

silver were found on the See also:

• IVORY (Fr. ivoire, Lat. ebur)
• IVORY, SIR JAMES (1765-1842)

ivory pipes from See also:

• POMPEII

Pompeii 2 (fig . 2), as well as on two pipes belonging to the Castellani collection (fig . 4) and on one from See also:

• HALICARNASSUS (mod. Budrum)

Halicarnassus, in the British Museum . In order to enable the performer to use these bands 4 c well as slide .

b, Slide with hole . c, Slides with two holes not uncovered together . d, Slides with two holes not uncovered together, one hole at back . e, Slide . f, Slide missing . g, Slide missing, h, Slide . i and j, Slide . k, Socket . 1, Male See also:

• HALF

half of See also:

• JOINT (through Fr. from Lat. junctum, jungere, to join)

joint . m, n o, Slides, the See also:

• TOP (cf. Dan. top, Ger. Topf, also meaning pot)

top hole being in the slide only. engraved lines . The line between r and s is either a turned See also:

• RING (O.E. hring; a word common to Teutonic languages; and probably cognate with the Lat. circus, Gr. KtpKOS or KpLKOS, Skt'. chakra, wheel, circle, cf. also " harangue "); in art, a band of circular shape of varying sizes, made of any material and used f

ring or See also:

• PART

part of See also:

• BRONZE

bronze See also:

• COVER (from the Fr. convert, from couvrir, to cover, Lat. cooperire)

cover . The double lines to the right of t are engraved lines .

conveniently, a contrivance such as a little ring, a See also:

• HORN
• HORN (a common Teutonic word, cognate with Lat. cornu; cf. Gr. Kipas)
• HORN (Lat. cornu; corresponding terms being Fr. cor, trompe; Ger. Horn; Ital. corno)
• HORN, ARVID BERNHARD, COUNT (1664-1742)
• HORN, PHILIP DE MONTMORENCY, COUNT

horn or a See also:

• HOOK, JAMES CLARKE (1819-1907)
• HOOK, THEODORE EDWARD (1788-1841)
• HOOK, WALTER FARQUHAR (1798-1875)

hook termed keras (14pas) was attached to the band.3 Thirteen of the bands on the Pompeian pipes still have sockets which probably originally contained kerata . Pollux (iv . 8o) mentions that Diodorus of Thebes, in order to increase the range of the aulos, made lateral channels for the air (lrX&See also:

• YEAR

year o&i) . These consisted of tubes inserted into the holes in the bands for the purpose of lengthening the column of air, and lowering individual notes at will, the See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound being then produced at the extremity of the tube, instead of at the See also:

• SURFACE

surface of the pipe . It is possible that some of the double holes in the slides of the Candia pipe were intended for the reception of these tubes . These lateral tubes form the archetype of the modern crook or See also:

• PISTON (through Fr. from Ital. pistone or pestone, a great pestle, from Late Lat. pistare, to pound, a frequentative form of classical Lat. pinsere)

piston.' The mouthpiece of the aulos was called zeugos 2 These pipes were discovered during the excavations in 1867, and are now in the museum at See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

Naples . Excellent reproductions and descriptions of them are given in " The Aulos or See also:

• TIBIA

Tibia," by See also:

• ALBERT
• ALBERT (1490'1545)
• ALBERT (149o-1568)
• ALBERT (1522–1557)
• ALBERT (FRANCIS CHARLES AUGUSTUS ALBERT EMMANUEL) (1819—1861)
• ALBERT (FRIEDRICH RUDOLF ALBRECHT)
• ALBERT, FREDERICK AUGUSTUS
• ALBERT, MADAME (c. 2805—2846)

Albert A . See also:

• HOWARD (FAMILY)
• HOWARD, CATHERINE (d. 1542)
• HOWARD, JOHN (1726-1790)
• HOWARD, LORD WILLIAM (1563–1640)
• HOWARD, OLIVER OTIS (1830-19o9)
• HOWARD, SIR ROBERT (1626–1698)

Howard, Harvard Studies, vol. iv . (See also:

• BOSTON
• BOSTON, THOMAS (1676-1732)

Boston, 1893), pl. ii. and PP . 48-55 . a For illustrations of auloi provided with these contrivances, see See also:

• ILLUSTRATION

illustration (fig . 2) of an aulos from Pompeii; a See also:

• RELIEF

relief in Vatican, No .

535; Helbig's Wandgemalde, Nos . 56, 69, 730, 765, &e . ' For illustrations of Mot showing the holes at the ends of the tubes, see Description See also:

• DES

des marbres antiques du Musie Campana, by H. d'Escamps, pl . 25; Wilhelm Froehner's See also:

• CATALOGUE (a Fr. adaptation of the Gr. KaraXoyos, a register, from Karalyety, to enrol or pick out)

Catalogue of the Louvre, n r (From a drawing by Prof . John L . Myres.) a, Triple wrapping of bronze as p and q, Slides, with two holes; the small hole shown is in the pipe, there being a corresponding hole in the slide at the back . r, Bronze covering (and slide?) . s, Male joint . t, The wavy line shows the extreme length of fragment . u, 13 mm. inside diameter, 14 mm. outside diameter . w, Engraved lines and conical form of bronze covering . x, Wavy line shows extreme length of fragment .

y, Stopped end of pipe with tholes. scars of slide (('eiryos),' the reed See also:

• TONGUE (O. Eng. lunge)

tongue glossae or glotta (Wawa or tyXc7arra), and the socket into which the reed was fixed glottis3 (yhwrris) . The double reed was probably used at first, being the simplest form of mouthpiece; the word zeugos, moreover, signifies a pair of like things . There is, however, no difficulty in accepting the See also:

• PROBABILITY (Lat. probabilis, probable or credible)

probability that a single beating reed or clarinet mouthpiece was used by the Greeks, since the See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient Egyptians used it with the as-it or See also:

• ARGHOUL, ARGHOOL, or ARGHUL (in the Egyptian hieroglyphs,As or As-IT)

arghoul (q.v.) . The See also:

• BEAK (early forms beke and becke, from Fr. bec, late Lat. beccus, supposed to be a Gaulish word; the Celtic bec and beq, however, are taken from the English)

beak-shaped mouthpiece of a pipe found at Pompeii (fig . 3) has all the See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance of the beak of the clarinet, having, on the side not shown, the See also:

• LAY

lay on which to See also:

• FIX, THEODORE (180o-1846)

fix a single or beating reed.4 It may, how- ever, have been the cap of a covered reed, or even a See also:

• WHISTLE

whistle mouthpiece in which the See also:

• LIP (a word common in various forms, to Teutonic languages, cf Ger. Lippe, Dan. laebe; Lat. labium is cognate)

lip does not show in the photograph . It is difficult to form a conclusion without seeing the real instrument . On a See also:

• MOSAIC (corresponding to Lat. opus musivum, from Gr. µovoeiov, an artificial grotto often decorated with mosaics; the word is only found in the sense of mosaic in late Greek, which generally uses k oXI yrlµa)

mosaic of Monnus in Treves 5 is represented an aulos which also appears to have a beak-shaped mouthpiece . The upper part of the aulos, as in the Pompeian pipes, frequently had the form of a flaring See also:

• CUP (in O.E. cuppe; generally taken to be from Late Lat. cuppa, a variant of Lat. cupa, a cask, cf. Gr. KuaeXXov)

cup supported on a See also:

• PEAR (Pyrus communis)

pear-shaped bulb, respectively identified as the holmos (Auks) and the hypholmion (See also:

• BOX
• BOX (Gr. irl or, Lat. buxus, box-wood; cf. 2r6Eir, a pyx)

bOXµwv), the support of the holmos . An explanation of the See also:

• ORIGINAL

original nature and construction of the bulb and flaring cup, so See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar in the various representations of the aulos, and in the real instruments found in Pompeii, is provided by an ancient See also:

• EGYPTIAN

Egyptian See also:

• FLUTE

flute belonging to the collection of G . See also:

• MASPERO, GASTON CAMILLE CHARLES (1846– )

Maspero, illustrated and described by See also:

• VICTOR
• VICTOR, GAIUS JULIUS (4th cent. A.D.)
• VICTOR, SEXTUS AURELIUS

Victor Loret.' Loret calls the double bulb the beak mouth- piece of the instrument, and describes its construction; it consists of a piece of reed of larger diameter than that of the flute, and eight centimetres See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long; this reed has been forcibly compressed a little more than half way down by means of a ligature of twine, thus reducing the diameter from 6 mm. to 4 mm . The end of the pipe, covered by rows of waxed See also:

• THREAD (0. Eng. praed, literally, that which is twisted, prawan, to twist, to throw, cf. " throwster," a silk-winder, Ger. drehen, to twist, turn, Du. draad, Ger. Draht, thread, wire)

thread, fits into the end of the smaller bulb, to which it was also See also:

• BOUND, or BOUNDARY (from O. Fr. bonde, Med. Lat. bodena or butina, a frontier line)

bound by waxed thread exactly as in the See also:

• ELGIN

Elgin pipe at the British Museum, described below . There is no indication of the manner in which the pipe was sounded, and Loret assumes that there was once a whistle or See also:

• FLAGEOLET

flageolet mouthpiece .

To the See also:

• PRESENT

present writer, however, it seems probable that the constricted diameter between the two bulbs formed a socket into which the double reed or See also:

• STRAW

straw was inserted, and that, in this case at least, the reed was not taken into the mouth, but vibrated in the upper bulb or air-chamber . This See also:

• SIMPLE

simple contrivance was probably also employed in the earliest Greek pipes, and was later copied and elaborated in wood, bone or metal, the upper bulb being made shorter and developing into the flaring cup, in order that the reeds might be taken directly into the mouth . During the best period of Greek See also:

• MUSIC

music the reeds were taken directly into the mouth' and not enclosed in an air-chamber . No . 378; See also:

• GLYPTOTHEK (from Gr. y?tnrros, carved, and OiiKf, a place of storage)

Glyptothek Museum at See also:

• MUNICH (Ger. Munchen)

Munich, No . 188; Albert A . Howard, " The Aulos or Tibia," Harvard Studies, iv . (Boston, 1893), pl . 1, No . 1 . For a description of the reed calamus from which pipe and mouthpiece were made see See also:

• THEOPHRASTUS

Theophrastus, His' . Plant. iv .

II . 2 See also:

• AESCHINES (389-314 B.C.)
• AESCHINES (5th century B.C.)

Aeschines 86 . 29; Aristotle, H.A . 6, to, 9, &c . See also:

• LUCIAN (d. 312)
• LUCIAN [Aowaavos] (c. A.D. 120-180)

Lucian, Harm . I . Cf. See also:

• ARTICLE (from Lat. articulus, a joint)

article MOUTHPIECE . s See Antike Denkmaler, Deutsches archaol . Inst., See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin, 1891, vol . I. p1 . 49 . s See " See also:

• LES

Les Flutes egyptiennes antiques," See also:

• JOURNAL
• JOURNAL (through Fr. from late Lat. diurnalis, daily)

Journal asiatique, 8th See also:

• SER

ser. vol. xiv .

(See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, 1889), pp . 212-215 . See Aristotle, De Audib. p . 802 b, 18, and p . 804 a; See also:

• FESTUS (? RuFUS or RUFIUS)
• FESTUS, SEXTUS POMPEIUS

Festus, ed . Mueller, p . 116.919 The two pipes were kept in position while the fingers stopped the holes and turned the bands by means of the chop(3Eia (See also:

• LAT

Lat. capistrum), a bandage encircling mouth and cheeks, and having holes through which the reed-mouthpiece passed into the mouth of the performer; the phorbeia also relieved the pressure of the breath on the cheeks and lips,' which is See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt more especially by performers on oboe and bassoon at the present day . In the pair of wooden pipes belonging to the Elgin collection at the British Museum, one of the bulbs, partly broken, but pre-served in the same case as the, pipes, was fastened to the pipes by means of waxed thread, the indented lines being still visible on the rim of the bulb . The aulos was kept in a case called sybene ° (uvl3itvrl) or aulotheke i° (abkoOi7Kr7), and the little bag or case in which the delicate reeds were carried was known by the name of glotlokomeion 1° (yXWTTOKOuEZOP).11 Two Egyptian flute cases are extant, one in the Louvre,12 and the other in the museum at See also:

• LEIDEN

Leiden . The latter case is of sycamore wood, cylindrical in shave, with a stopper of the same wood ; there is no See also:

• LEGEND (through the French from the med. Lat. legenda, things to be read, from legere, to read)

legend or See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design upon it . The case contained seven pipes, five pieces of reed without bore or holes, and three pieces of straw suitable for making double-reed mouthpieces.13 See also:

• ARISTOXENUS

Aristoxenus gives the full compass of a single pipe or pair of pipes as over three octaves:—" For doubtless we should find an See also:

• INTERVAL

interval greater than the above mentioned three octaves between the highest See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note of the See also:

• SOPRANO (a variant of Ital. sovrano, supreme, sovereign, Late Lat. superanus, from super, above)

soprano clarinet (autos) and the lowest note of the See also:

• BASS
• BASS (the same word as " base," and so pronounced, but influenced in spelling by the Ital. basso)

bass-clarinet (aulos); and again between the highest note of a clarinet player performing with the See also:

• SPEAKER

speaker open, and the lowest note of a clarinet player performing with the speaker closed."14 This, according to the tables of See also:

• ALYPIUS

Alypius, would correspond to the full range of the Greek scales, a little over three octaves from @ if to It is evident that the ancient -See also:

• ATE

ate Greeks obtained this full compass on the aulos by means of the harmonics . See also:

• PROCLUS, or PROCULUS (A.D. 410-485)

Proclus (Comm. in Alcibiad. See also:

• CHAP

chap .

68) states that from each hole of the pipe at least three tones could be produced . Moreover, classic writers maintain that if the per-former See also:

• PRESS (through Fr. presse from Lat. pressare, frequentative of premere, to crush, squeeze, press)

press the zeugos or the glottal of the pipes, a sharper tone is produced." This is exactly how a performer on a modern clarinet or oboe produces the higher harmonics of the instrument." The small bore of the aulos in comparison to its length facilitated the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of the harmonics (cf . Zamminer p . 218), as does also the use of a small hole near the mouthpiece, called in Greek syrinx (vupeyE) and in the modern clarinet the speaker," which when open enables the performer to over-See also:

• BLOW, JOHN (1648-1708)

blow with ease the first harmonic of the lowest fundamental 8 See Albert A . Howard, op. cit. p . 29, and Dr See also:

• HUGO, GUSTAV VON (1764–1844)
• HUGO, VICTOR MARIE (1802-1885)

Hugo See also:

• RIEMANN, GEORG FRIEDRICH BERNHARD (1826–1866)

Riemann, Gesch. d . Musik, Bd. i . T . 1, p . III (See also:

• LEIPZIG

Leipzig, 1904) . ° Pollux, Onomasticon, vii . 153 .

to See also:

• HESYCHIUS

Hesychius . " Pollux ii. io8, vii . 153, x . 153-154; A . A . Howard, op. cit. pp . 26-27 . An illustration of the little bag is given in Denkmiiler des klassischen Altertums, by See also:

• AUGUST (originally Sextilis)

August Baumeister, vol. i. p . 554, fig . 591 . i2 Two Egyptian pipes now in the Louvre were found in a case ornamented with a See also:

• PAINTING

painting of a See also:

• FEMALE

female musician playing a double pipe . See E. de See also:

• ROUGE (" red," from Lat. rubeus)

Rouge, See also:

• NOTICE

Notice sommaire des monuments egyptiens exposes dons les galeries du Louvre, p .

87 . i3 See Victor Loret, " Les Flutes egyptiennes antiques," in Journal asiatique, vol. xiv . (Paris, 1889), pp . 199, 200 and 201 (note), pp . 207, 211 and 217, and See also:

• CONRAD (d. 955)
• CONRAD, JOSEPH (1856– )
• CONRAD, or KONRAD (M. H. Ger. Kuonrdl, i.e. " keen in counsel," Lat. Conradus, It. Corrado, cf. the A.S. Ccenred)

Conrad Leemans, Description raisonnee des monuments egyptiens du Music d'Antiquites de Leyde, p . 132, No . 489; contents of case Nos . 474-488 . . 14 Aristoxenus, Harm. bk. i . 20 and ,21, H . S . Macran's edition with See also:

• TRANSLATION

translation (See also:

• OXFORD
• OXFORD, EARLS OF
• OXFORD, EDWARD DE VERE, 17TH EARL
• OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
• OXFORD, PROVISIONS OF
• OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
• OXFORD, ROBERT HARLEY, 1ST

Oxford, 1902), p .

179 . is Aristotle, De audib. p . 804 a; See also:

• PORPHYRY (IlopcPisptos) (A.D. 233-c. 304)

Porphyry, ed . See also:

• WALLIS, JOHN (1616-1703)

Wallis, p . 249; ibid . p . 252 . is Zamminer, op. cit. p . 301 . (See also:

• DRAWN

Drawn from a photo by Brogi . ) 1 : (From a photo by Brogi,) tones . To Mr Albert A .

Howard of Harvard University is due the credit of having identified the syrinx of the aulos with the speaker of the clarinet.' This See also:

• ASSUMPTION, FEAST OF

assumption is. doubtless correct, and is supported by classical grammarians,' who See also:

• STATE
• STATE, GREAT OFFICERS OF

state that the syrinx was one of the holes of the aulos . It renders quite clear certain passages in Aristoxenus, Aristotle and See also:

• PLUTARCH
• PLUTARCH (Gr. llXoi rapxos) (c. A.D. 46–120)

Plutarch, and a scholion to See also:

• PINDAR (Gr. HivSapos, c. 522–443 B.c.)

Pindar's 12th Pythian, which before were difficult to understand (see SYRINX) . The aulos or tibia existed in a See also:

• GREAT

great number of varieties enumerated by Pollux (Onomast. iv. i4 et seq.) and Athenaeus (iv . 76 et seq.) . They fall into two distinct classes, the single and the double pipes . There were three See also:

• PRINCIPAL

principal single pipes, the monaulos, the plagiaulos and the syrinx monocalamos . The double pipes were used by the great musicians of ancient See also:

• GREECE

Greece, and notably at the musical contests at See also:

• DELPHI (the Pytho of Homer and Herodotus; in Boeotian inscriptions BeA4oi, on coins Aa)tg5oi)

Delphi, and what has been said above concerning the construction of the aulos refers mainly to the double pipes . The monaulos, a single pipe of Egyptian origin, which, by inference, we assume to have been played from the end by means of a reed, may have been the archetype of the oboe or clarinet . The plagiaulos photinx or tibia obliqua, invented by the Libyans (Pollux iv . 74) , or, according to See also:

• PLINY, THE ELDER
• PLINY, THE YOUNGER

Pliny (vii . 204), by See also:

• MIDAS

Midas of See also:

• PHRYGIA

Phrygia, was held like the modern flute, but was played by means of a mouthpiece containing a reed . Three of the existing pipes at the British Museum (the two in the Castellani collection, and the pipe from Halicarnassus) belong to this type .

The mouthpiece .projects from the side of the pipe and communjeates with the See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main bore by means of a slanting passage; the end nearest the mouthpiece is stopped as in the modern flute; in the latter, however, the embouchure is not closed by the lips when playing, and therefore the flute has the acoustic properties of the open pipe, whereas the plagiaulos ving a reed mouthpiece gave the harmonics a closed pipe . The double pipes existed in five sizes according to pitch, in the days of Aristoxenus, who, in a See also:

• TREATISE

treatise on the construction of the auloi (IIepz aiXiav rpitvews), unfortunately not extant,' divides them thus: (I) Partlzenioi auloi (zrapO vwz alMi), the See also:

• MAIDEN, or MAID

maiden's auloi, corresponding to the soprano compass . (2) Paidikoi auloi (rral&Koi avhoi), the boy's pipes or See also:

• ALTO (Ital. for " high ")

alto auloi, used to accompany boys' songs and also in double pairs at feasts . (3) Kitharisterioi auloi (Kleapzvrilpcoz avltoi), used to accompany the cithara . (4) Teleioi auloi, the perfect aulos, or See also:

• TENOR (through Fr. and It. from Lat. tenor, holding on, course, sense of a law, tone)

tenor's pipes; also known as the pythic auloi (Iru&KOL auhol); used for the paeans and for solos at the Pythean See also:

• GAMES, CLASSICAL

games (without See also:

• CHORUS (Gr. xopbs)Z

chorus) . It was the pythic auloi and the kitharisterioi auloi more especially which were provided with the speaker (syrinx) in order to improve the harmonic notes (see SYRINX) . ' Op . Cit. p . 32-35 . ' See Etymologicum magnum (See also:

• AUGSBURG
• AUGSBURG, CONFESSION OF
• AUGSBURG, WAR OF THE LEAGUE OF

Augsburg, 1848), s.v . " Syrinx." ' See Athenaeus xiv . 634, who quotes from See also:

• DIDYMUS (?3o9-?394)

Didymus .

(5) Hyperteleioi auloi (inrepriX un auXoi) or andreioi auloi (Aw5peiot auXol) (see Athenaeus iv . 79), the bass-auloi . The Phrygian pipes or auloi Elymoi 4 were made of box-wood and were tipped with horn; they were double pipes, but differed from all others in that the two pipes were unequal in length and in the diameter of their bores ; sometimes one of the pipes was curved upwards and terminated in a horn bell s; they seem to have had a conical bore, if representations on monuments are to be trusted . We may conclude that the archetype of the oboe with conical bore was not unknown to the Greeks; it was frequently used by the Etruscans and Romans, and appears on many bas-reliefs, mural paintings and other monuments . For illustrations see Wilhelm Froehner, Les Musees de See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France, p1. iii., " See also:

• MARSYAS

Marsyas playing the double pipes." There the bore is decidedly conical in the ratio of at least 1 : 4 between the mouthpiece and the end of the instrument; the See also:

• VASE
• VASE (through Fr. from Lat. vas, a vessel, pl. vasa, of which the singular vasum is rarely found; the ultimate root is probably was-, to cover, seen in Lat: vestis, clothing, Eng. " vest," Gr. to-th c, and also in " wear," of garments)

vase is See also:

• ROMAN

Roman, from the See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

south of France . See also Bulletino della Commissione Archeologica Comunale di See also:

• ROMA

Roma, See also:

• ROME
• ROME (Roma)

Rome, 1879, vol. vii., 2nd series, pl. vii. and p . 119 et seq., "Le Nozze di Elena e Paride," from a bas-relief in the monastery of S.See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

Antonio on the Esquiline; Wilhelm Zahn, Die schonsten Ornamente and die merkwurdigsten Gemalde aus Pompeji, Herkulaneum and See also:

• STABIAE

Stabiae (See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German and See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French), vol. iii., pl . 43 and 51 (Berlin, 1828-1859) . For further See also:

• INFORMATION (from Lat. informare, to give shape or form to, to represent, describe)

information on the aulos, consult Albert A . Howard, " The Aulos or Tibia," Harvard Studies, iv., 1893; See also:

• FRANCOIS (1558-1614)

Francois A . Gevaert, Histoire de la musique clans l'antiquite, vol. ii. p . 273 et seq.; Carl von See also:

• JAN

Jan's article " Flote " in August Baumeister's Denknuiler des klassischen Altertums (Munich, 1884-1888), vol. i.; Dr Hugo Riemann, Handbuch der Musikgeschichte, Bd .

I . T . 1, pp . 93-112 (Leipzig, 1904) ; Caspar See also:

• BARTHOLINUS, GASPARD [CASPAR BERTHELSEN], (1585-1629)

Bartholinus, De Tibiis Veterum (Amster-See also:

• DAM

dam, 1779) . (K .