HANDBOOK OF THE COLLECTION OF MUSICAL INSTRUMENTS 55 



rods that strike the entire surface of the head; others with slender 

 sticks that have a curve or loop at the end, while a probable majority 

 are struck with a stick having a knob at the end, this knob being of 

 some soft material. The American Indians secure this by winding 

 the end of the drumstick with rags. In one ceremonial drumstick 

 obtained by the writer the soft end used in striking against the drum 

 was stuffed with eagle feathers. In another drum used in a native 

 religion (the Chippewa Mide'wiwin) the end of the stick that 

 touched the drum was frequently carved with a symbolic design. 

 One such stick represented the head of a loon, this bird being asso- 

 ciated with certain beliefs of the Mide'wiwin. The American Indians 

 select the wood carefully for the drumsticks, the wood of the grape- 

 vine and of the hazel being often used. 



It is interesting to note the various ways in which drums have 

 been carried, this being mentioned in the descriptions of many 

 specimens. For instance, these drums have been carried on the backs 

 of camels, on the backs of horses, and on the heads and shoulders of 

 men, as well as suspended from the neck and held under the player's 

 arm or in front of him. A few drums are hung on a framework 

 devised for that purpose. 



KETTLEDRUMS 



This type of drum has a long and interesting history and is the 

 only type which can be tuned to a definite pitch. Some writers 

 claim that the kettledrum was introduced into Europe by the Moors 

 wlien they occupied Spain. The first drums of this type used in 

 European countries were small. They were always in pairs and 

 strapped around the player's waist. In this form they were used in 

 the triumphal entry of Edward III into Calais in 1347. Kettle- 

 drums more nearly the size of those used at the present time were 

 used by German cavalry about the middle of the sixteenth century. 

 They were introduced into England by Henry VIII, who had them 

 played on horseback " after the Hungarian manner." In the time of 

 Charles II every posse of trumpeters had at least one kettledrum. 

 This instrument formed a natural bass to the trumpets, and in the 

 modern orchestra the kettledrum is always associated with the wind 

 instruments. The use of kettledrums in the orchestra began in 

 France in the latter part of the seventeenth century, and they have 

 been more or less permanent members of the orchestra ever since. 

 They are generally used in pairs, one larger than the other, and 

 tuned as a rule to the tonic and dominant. Each drum has a com- 

 pass of a fifth. The pitch can be raised or lowered by increasing or 

 slackening the tension of the vellum drumhead, this being effected 

 by means of five, six, or even seven screws placed around the circum- 

 ierence of the drum. 



