See also:

• GONG (Chinese, gong-gong or tam-tam)

GONG (See also:

• CHINESE, JAPANESE AND

Chinese, gong-gong or See also:

• TAM, JACOB BEN MEIR (1100-1171)

tam-tam)  , a sonorous or musical See also:

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

instrument of See also:

• CHINESE, JAPANESE AND

Chinese origin and manufacture, made in the See also:

• FORM (Lat. forma)

form of a broad thin disk with a deep rim . Gongs vary in See also:

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

diameter from about 20 to 40 in., and they are made of See also:

• BRONZE

bronze containing a maximum of 22 parts of See also:

• TIN (Lat.- stannum, whence the chemical symbol " Sn "; atomic weight =117.6, 0=16)

tin to 78 of See also:

• COPPER (symbol Cu, atomic weight 63.1, H=1, or 63.6, O = 16)

copper; but in many cases the proportion of tin is considerably less . Such an alloy, when See also:

• CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

cast and allowed to cool slowly, is excessively brittle, but it can be tempered and annealed in a See also:

• PECULIAR

peculiar manner . If suddenly cooled from a See also:

• CHERRY

cherry-red See also:

• HEAT (0. E. haktu, which like " hot," Old Eng. hat, is from the Teutonic type haita, hit, to be hot; cf. Ger. hitze, heiss; Dutch, hitte, heet, &c.)

heat, the alloy becomes so soft that it can be hammered and worked on the See also:

• LATHE

lathe, and afterwards it may be hardened by re-See also:

• HEATING

heating and cooling it slowly . In these properties it will be observed, the alloy behaves in a manner exactly opposite to See also:

• STEEL, FLORA ANNIE (1847– )

steel, and the Chinese avail themselves of the known peculiarities for preparing the thin sheets of which gongs are made . They cool their castings of bronze in See also:

• WATER

water, and after hammering out the alloy in the soft See also:

• STATE
• STATE, GREAT OFFICERS OF

state, harden the finished gongs by heating them to a cherry-red and allowing them to cool slowly . These properties of the alloy See also:

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

long remained a See also:

• SECRET (Lat. secretum, hidden, concealed)

secret, said to have been first discovered in See also:

• EUROPE

Europe by See also:

• JEAN

Jean See also:

• PIERRE

Pierre See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph d'Arcet at the beginning of the 19th See also:

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

century . Riche and See also:

• CHAMPION (Fr. champion, Late Lat. campio from campus; a field or open space, i.e. one " who takes the field " or fights; cf. Ger. Kampf, battle, and Kampfer, fighter)

Champion are said to have succeeded in producing See also:

• TAM, JACOB BEN MEIR (1100-1171)

tam-tams having all the qualities and timbre of the Chinese See also:

• INSTRUMENTS

instruments . The See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition of the alloy of bronze used for making gongs is stated to be as follows:' Copper, 76.52; Tin, 22.43; See also:

• LEAD
• LEAD (pronounced iced)

Lead, o•62; See also:

• ZINC

Zinc, 0.23; See also:

• IRON [symbol Fe, atomic weight 55.85 (0=16)]

Iron, o•18 . The See also:

• GONG (Chinese, gong-gong or tam-tam)

gong is beaten with a See also:

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

round, hard, See also:

• LEATHER (a word which appears in all Teutonic languages; cf. Ger. Leder, Dutch leer or leder, Swed. leder, and in such Celtic forms as Welsh llader)
• LEATHER, ARTIFICIAL

leather-covered See also:

• PAD

pad, fitted on a See also:

• SHORT, FRANCIS JOB (1857– )

short stick or handle . It emits a peculiarly sonorous See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound, its complex vibrations bursting into a See also:

• WAVE

wave-like See also:

• SUCCESSION (Lat. successio, from succedere, to follow after)

succession of tones, sometimes shrill, sometimes deep . In See also:

• CHINA

China and See also:

• JAPAN

Japan it is used in religious ceremonies, state processions, marriages and other festivals; and it is said that the Chinese can modify its See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone variously by particular ways of striking the disk .

The gong has been effectively used in the See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

orchestra to intensify the impression of fear and horror in melodramatic scenes . The tam-tam was first introduced into a western orchestra by See also:

• FRANCOIS (1558-1614)

Francois Joseph See also:

• GOSSEC, FRANCOIS JOSEPH (1734—1829)

Gossec in the funeral See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

march composed at the See also:

• DEATH

death of See also:

• MIRABEAU, ANDRE BONIFACE LOUIS RIQUETI, VICOMTE DE (1754-1792)
• MIRABEAU, HONORS GABRIEL RIQUETI, COMTE DE (1749-1791)
• MIRABEAU, VICTOR RIQUETI, MARQUIS DE (1715-1789)

Mirabeau in 1791 . Gaspard See also:

• SPONTINI, GASPARO LUIGI PACIFICO (1774-1851)

Spontini used it in La Vestale (1807), in the See also:

• FINALE (Ital. for " end ")

finale of See also:

• ACT (Lat. actus, actum)

act Ile an impressive See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene in which the high pontiff pronounces the See also:

• ANATHEMA (from Gr. avarz6 'cu, to lift up)

anathema on the faithless vestal . It was also used in the funeral See also:

• MUSIC

music played when the remains of See also:

• NAPOLEON

Napoleon the See also:

• GREAT

Great were brought hack to See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France in 1840 . See also:

• MEYERBEER, GIACOMO (1791-1863)

Meyerbeer made use of the instrument in the scene of the resurrection of the three nuns in See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert le diable . Four tam-tams are now used at See also:

• BAYREUTH, or BAIREUTH

Bayreuth in See also:

• PARSIFAL

Parsifal to reinforce 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 instruments, although there is no indication given in the See also:

• SCORE (O.E. scor, from sceran, to cut, notch, cf. " shear ")

score (see PARSIFAL) . The tarp-tam has been treated from its ethnographical See also:

• SIDE
• SIDE (mod. Eski Adalia)

side by See also:

• FRANZ, ROBERT (1815-1892)

Franz Heger.' (K .