See also:

• KEYBOARD, or MANUAL (Fr. clavier; Ger. Klaviatur; Ital. tastatura)

KEYBOARD, or See also:

• MANUAL

MANUAL (Fr. clavier; Ger. Klaviatur; Ital. tastatura)  , a See also:

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

succession of keys for unlocking See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound in stringed, 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 or percussion musical See also:

• INSTRUMENTS

instruments, together with the See also:

• CASE
• CASE, JOHN (d. 1600)

case or See also:

• BOARD (O. Eng. bord)

board on which they are arranged . The two See also:

• PRINCIPAL

principal types of See also:

• KEYBOARD, or MANUAL (Fr. clavier; Ger. Klaviatur; Ital. tastatura)

keyboard instruments are the See also:

• ORGAN

organ and the piano; their keyboards, although similarly constructed, differ widely in See also:

• SCOPE (through Ital. scopo, aim, purpose, intent, from Gr. o'KOaos, mark to shoot at, aim, o ic07reiv, to see, whence the termination in telescope, microscope, &c.)

scope and capabilities . The keyboard of the organ, a purely See also:

• MECHANICAL

mechanical contrivance, is the See also:

• EXTERNAL

external means of communicating with the valves or pallets that open and See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close the entrances to the pipes . As its See also:

• ACTION

action is incapable of variation at the will of the performer, the keyboard of the organ remains without See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence on the quality and intensity of the sound . The See also:

• KEY
• KEY (in O. Eng. tang; the ultimate origin of the word is unknown; it appears only in Old Frisian kei of other Teutonic languages; until the end of the 17th century the pronunciation was kay, as in other words in O. Eng. ending in aeg; cf. daeg, day; clang
• KEY (the phraseograms being indicated by hyphens)
• KEY, SIR ASTLEY COOPER (1821-1888)
• KEY, THOMAS HEWITT (1799-1875)

key-board of the piano, on the contrary, besides its purely mechanical See also:

• FUNCTION

function, also forms a sympathetic vehicle of transmission for the performer's rhythmical and emotional feeling, in consequence of the faithfulness with which it passes on the impulses communicated by the fingers . The keyboard proper does not, in instruments of the organ and piano types, contain the See also:

• COMPLETE

complete mechanical apparatus for directly unlocking the sound, but only that external See also:

• PART

part of it which is accessible to the performer . The first See also:

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

instrument provided with a keyboard was the organ; we must therefore seek for the prototype of the See also:

• MODERN

modern keyboard in connexion with the See also:

• PRIMITIVE

primitive instrument which marks the transition between the See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere See also:

• SYRINX (ovpryE)

syrinx provided with See also:

• BELLOWS
• BELLOWS, ALBERT F
• BELLOWS, HENRY WHITNEY (1814-1882)

bellows, in which all the pipes sounded at once unless stopped by the fingers, and the first organ in which sound was elicited from a See also:

• PIPE

pipe only when unlocked by means of some mechanical contrivance . The earliest contrivance was the See also:

• SIMPLE

simple slider, unprovided with a key or touchpiece and working in a groove like the lid of a See also:

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

box, which was merely pushed in or See also:

• DRAWN

drawn out to open or close the hole that formed the communication between the wind See also:

• CHEST (Gr. Kiarl, Lat. cista, O. Eng. cist, test, &c.)

chest and the hole in the See also:

• FOOT

foot of the pipe . These sliders fulfilled in a simple manner the function of the modern keys, and preceded the groove and pallet See also:

• SYSTEM

system of the modern organ . We have no clear or trustworthy See also:

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

information concerning the primitive organ with sliders . See also:

• ATHANASIUS (293-373)

Athanasius See also:

• KIRCHER, ATHANASIUS (r6oi-168o)

Kircher' gives a See also:

• DRAWING

drawing of a small mouth-blown instrument wider the name of Magraketha (Mashroqitha', See also:

• DAN

Dan. iii . 5), and Ugolini describes a similar one, but with a pair of bellows, as the magrephah of the See also:

• TREATISE

treatise 'Arakhin.' By See also:

• ANALOGY (Gr. avaXo-yLa, proportion)

analogy with the See also:

• EVOLUTION

evolution of the organ in central and western See also:

• EUROPE

Europe from the 8th to the 15th See also:

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

century, of which we are able to study the various stages, we may conclude that in principle both drawings were probably fairly representative, even if nothing better than efforts of the See also:

• IMAGINATION

imagination to illustrate a See also:

• TEXT (Lat. textum, woven fabric, from texere, to weave)

text .

The invention of the keyboard with balanced keys has been placed by some writers as See also:

• LATE

late as the 13th or 14th century, in spite of its having been described by both See also:

• HERO (Gr. open)
• HERO, THE YOUNGER

Hero of See also:

• ALEXANDRIA
• ALEXANDRIA (Arab. Iskenderia)

Alexandria and See also:

• VITRUVIUS (MARCUS VITRUVIUS POLLIO)

Vitruvius and mentioned by poets and writers . The misconception probably arose from the easy See also:

• ASSUMPTION, FEAST OF

assumption that the organ was the product of Western skill and that the primitive instruments with sliders found in Ilth_century documents' represent the sum of the progress made in the evolution; in reality they were the result of a laborious effort to reconquer a lost See also:

• ART

art . The earliest trace of a balanced keyboard we possess is contained in Hero's description of the See also:

• HYDRAULIC

hydraulic organ said to have been invented by Ctesibius of Alexandria in the 2nd century B.c . After describing the other parts (see ORGAN), Hero passes on to the sliders with perforations corresponding with the open feet of the speaking pipes which, when drawn forward, See also:

• TRAVERSE

traverse and See also:

• BLOCK
• BLOCK (from the Fr. bloc, and possibly connected with an Old Ger. Block, obstruction, cf. " baulk ")
• BLOCK, MAURICE (1816–19or)

block the pipes . He describes the following contrivances: attached to the slider is a three-limbed, pivoted See also:

• ELBOW

elbow-key, which, when depressed, pushes the slider inwards; 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 provide for its automatic return when the See also:

• FINGER

finger is lifted from the key, a slip of 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 is attached by a gut See also:

• STRING

string to each elbow-key . When the key is depressed and the slider pushed See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home, the gut string pulls the slip of horn and straightens it . As soon as the key is released, the piece See Musurgia, bk . II., iv . § 3 . ' Thes . Antiq . Sacra .

(See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice, 1744-1769), xxxii . 477 . II . 3 and fol. to, 2 . `Arakhin (" Valuations ") is a treatise in the Babylonian See also:

• TALMUD

Talmud . The word Magrephah occurs in the Mishna, the description of the instrument in the gemdrd . See the Cividale See also:

• PRAYER (from Lat. precari, entreat; Ital. pregaria, Fr. priere)
• PRAYER, BOOK OF COMMON

Prayer See also:

• BOOK

Book of St See also:

• ELIZABETH
• ELIZABETH (1533-1603)
• ELIZABETH (1596-1662)
• ELIZABETH (1635–1650)
• ELIZABETH [ AMELIE EUGENIE ] (1837—1898)
• ELIZABETH [1lisabeth Philippine Marie Helene of France] (1764—1794)
• ELIZABETH [PAULINE ELIZABETH OTTILIE LOUISE] (1843– )
• ELIZABETH [PETROVNA] (1709-1762), EMPRESS
• ELIZABETH, SAINT (1207-1231)

Elizabeth in See also:

• ARTHUR (Fr. Arius)
• ARTHUR, CHESTER ALAN (1830 – 1886)

Arthur See also:

• HASE, CARL BENEDICT (1780-1864)
• HASE, KARL AUGUST VON (1800-1890)

Hase-1off's Eine See also:

• SACHS, HANS (1494-1576)
• SACHS, JULIUS VON (1832-1897)
• SACHS, MICHAEL (1808–1864)

Sachs.-thuring . Malerschule, pl . 26, No . 57, also See also:

• BIBLE
• BIBLE, ENGLISH

Bible of St See also:

• ETIENNE, CHARLES GUILLAUME (1778-1845)

Etienne See also:

• HARDING, CHESTER (1792-1866)
• HARDING, JAMES DUFFIELD (1798-1863)

Harding at See also:

• DIJON

Dijon (see ORGAN: See also:

• HISTORY

History).of horn, regaining its natural See also:

• BENT
• BENT (E1. BENI)
• BENT, JAMES THEODORE (1852–1897)

bent by its own See also:

• ELASTICITY

elasticity, pulls the slider out so that the perforation of the slider overlaps and the pipe is silenced.' The description of the keyboard by Vitruvius See also:

• POLLIO, GAIUS ASINIUS (76 B.C.–A.D. 5; according to some, 75 B.C.–A.D. 4)

Pollio, a variant of that of Hero, is less accurate and less complete.' From See also:

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

evidence discussed in the See also:

• ARTICLE (from Lat. articulus, a joint)

article ORGAN, it is clear that the principle of a balanced keyboard was well understood both in the 2nd and in the 5th century A.D . After this all trace of this important development disappears, sliders of all kinds with and without handles doing See also:

• DUTY (from " due," that which is owing, O. Fr. deu, dil, past participle of devoir; Lat. debere, debitum; cf. " debt ")

duty for keys until the 12th or 13th century, when we find the small portative See also:

• ORGANS

organs furnished with narrow keys which appear to be balanced; the single bellows were manipulated by one See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand while the other fingered the keys . As this little instrument was mainly used to accompany the See also:

• VOICE (Fr. voix, from Lat. vox)

voice in simple chaunts, it needed few keys, at most nine or twelve .

The pipes were flue-pipes . A similar little instrument, having tiny invisible pipes furnished with beatin reeds and a pair of bellows (therefore requiring two performers) was known as the See also:

• REGAL

regal . There are representations of these See also:

• MEDIEVAL

medieval balanced keyboards with keys of various shapes, the most See also:

• COMMON

common being the rectangular with or without rounded corners and the T-shaped . Until the 14th century all the keys were in one See also:

• ROW, JOHN (c. 1525—1580)

row and of the same level, and although the B See also:

• FLAT (a modification of O. Eng. flet, an obsolete word of Teutonic origin, meaning the ground beneath the feet)

flat was used for modulation, it was merely placed between A and B natural in the sequence of notes . During the 14th century small square additional keys made their See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance, one or two to the See also:

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

octave, inserted between the others in the position of our See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

black keys but not raised . An example of this keyboard is reproduced by J . F . Riano' from a See also:

• FRESCO (Ital. for cool, " fresh ")

fresco in the Cistercian monastery of Nuestra Senora de Piedra in See also:

• ARAGON, or ARRAGON (in Span. Aragon)

Aragon, dated 1390 . So far the history of the keyboard is that of the organ . The only stringed instruments with keys before this date were the See also:

• ORGANISTRUM

organistrum and the hurdy-gurdy, in which little See also:

• TONGUES, GIFT OF, or GLOSSOLALIA (yXwova, tongue, aXeiv, speak)

tongues 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 manipulated by handles or keys performed the function of the fingers in stopping the strings on the See also:

• NECK (O. Eng. hnecca; the word appears in many Teutonic languages; cf. Dutch ride, Ger. Nacken; in O. E. the common word was heals; cf. Ger. Hals)

neck of the instruments, but they did not influence the development of the keyboard . The See also:

• ADVENT (Lat. Adventus, sc. Redemptoris, " the coming of the Saviour ")

advent of the immediate precursors of the See also:

• PIANOFORTE (Ital. piano, soft, and forte, loud)

pianoforte was at hand . In the Wunderbuch' (1440), preserved in the See also:

• GRAND

Grand Ducal Library at See also:

• WEIMAR

Weimar, are represented a number of musical instruments, all named .

Among them are a clavichordium and a clavicymbalum with narrow additional keys let in between the wider ones, one to every See also:

• GROUP

group of two large keys . The same arrangement prevailed in a clavicymbalum figured in an See also:

• ANONYMOUS

anonymous MS. attributed to the 14th century, preserved in the public library at See also:

• GHENT (Flem. Gent, Fr. Gand)

Ghent'; from the lettering over the jacks and strings, of which there are but eight, it would seem as though the See also:

• DRAUGHTS (from AS. dragan, to draw)

draughts-See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man had See also:

• LEFT

left the accidentals out of the See also:

• SCHEME (Lat. schema, Gr. oxfjya, figure, form, from the root axe, seen in exeiv, to have, hold, to be of such shape, form, &c.)

scheme of notation . These are the earliest known representations of instruments with keyboards . The exact date at which our See also:

• CHROMATIC (Gr. xpcoµaruc6s, coloured, from xpwµa, colour)

chromatic keyboard came into use has not been discovered, but it existed in the 15th century and may be studied in the picture of St See also:

• CECILIA, SAINT

Cecilia playing the organ on the Ghent altarpiece painted by the See also:

• BROTHERS, RICHARD (1757-1824)

brothers See also:

• HUBERT (HUCBERTUS, HUGBERTUS), ST (d. 727)

Hubert and See also:

• JAN

Jan See also:

• VAN

van See also:

• EYCK, VAN

Eyck . See also:

• PRAETORIUS, MICHAEL (1571_1621)

Praetorius distinctly states that the large See also:

• HALBERSTADT

Halberstadt organ had the keyboard which he figures (plates See also:

• XXIV

xxiv. and See also:

• XXV

xxv.) from the outset, and reproduces the inscription asserting that the organ was built in 1361 by the See also:

• PRIEST (Ger. Priester, Fr. pretre)

priest See also:

• NICOLAS
• NICOLAS, SIR NICHOLAS HARRIS (1799–1848)

Nicolas Fabri and was renovated in 1495 by Gregorius Kleng . The keyboard of this organ has the arrangement of the See also:

• PRESENT

present 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 with raised black notes; it is not improbable that Praetorius's statement was correct, for See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany and the Nether-lands led the van in organ-See also:

• BUILDING

building during the See also:

• MIDDLE

middle ages . At the beginning of the 16th century, to facilitate the playing of contrapuntal See also:

• MUSIC

music having a See also:

• DRONE

drone See also:

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

bass or point d'orgue, the arrangement of the pipes of organs and of the strings of spinets and harpsichords was altered, with the result that the lowest octave of the keyboard was made in what is known as See also:

• SHORT, FRANCIS JOB (1857– )

short measure, or mi, re, ut, i.e. a diatonic with B flat included, but grouped in the space of a See also:

• SIXTH

sixth instead of appearing as a full octave . In order to carry out this See also:

• DEVICE

device, the See also:

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

note below F was C, instead of E, the missing D and E and the B flat being substituted for the three sharps of F, G and A, and appearing as black notes, thus: DEBb CF G A B C, or if the lowest note appeared to be B, it sounded as G and the arrangement was as follows: .