﻿126 
  DR 
  TRAILL 
  ON 
  A 
  PERUVIAN 
  MUSICAL 
  INSTRUMENT 
  

  

  be 
  termed 
  the 
  ordinary 
  compass 
  of 
  eight 
  notes, 
  produced 
  by 
  moderate 
  and 
  easy 
  

   blowing, 
  and 
  producing 
  clear 
  tones. 
  

  

  The 
  Peruvian 
  instrument 
  has 
  a 
  contrivance 
  for 
  giving 
  variety 
  to 
  its 
  notes, 
  

   which 
  appears 
  to 
  me 
  very 
  ingenious, 
  and 
  which, 
  as 
  far 
  as 
  I 
  can 
  learn, 
  is 
  peculiar 
  

   to 
  it. 
  Four 
  of 
  its 
  pipes, 
  viz., 
  Nos. 
  2, 
  4, 
  6, 
  and 
  7, 
  have 
  each 
  a 
  ventilage, 
  or 
  

   small 
  hole 
  perforating 
  its 
  front, 
  about 
  an 
  inch 
  below 
  its 
  top, 
  which 
  must 
  be 
  

   covered 
  with 
  the 
  fingers 
  of 
  the 
  performer 
  when 
  these 
  pipes 
  are 
  to 
  be 
  sounded. 
  

   These 
  holes 
  are 
  so 
  near 
  the 
  top 
  of 
  the 
  pipes, 
  that, 
  when 
  open, 
  the 
  sound 
  of 
  the 
  

   note 
  is 
  quite 
  lost 
  ; 
  so 
  that 
  if 
  the 
  performer 
  does 
  not 
  mean 
  to 
  sound 
  that 
  particular 
  

   note 
  in 
  a 
  rapid 
  movement, 
  it 
  is 
  not 
  necessary 
  to 
  avoid 
  blowing 
  into 
  the 
  pipe, 
  but 
  

   merely 
  to 
  uncover 
  the 
  ventilage, 
  which 
  effectually 
  destroys 
  its 
  sound. 
  From 
  the 
  

   peculiar 
  adjustment 
  of 
  the 
  instrument, 
  an 
  harmonious 
  and 
  pleasing 
  teirachord 
  is 
  

   produced 
  by 
  running 
  up 
  the 
  scale 
  with 
  all 
  the 
  ventilages 
  open. 
  

  

  This 
  description 
  renders 
  it 
  evident 
  that 
  the 
  Peruvian 
  has 
  considerable 
  advan- 
  

   tages 
  over 
  the 
  simple 
  Grecian 
  syrinx, 
  which 
  is 
  generally 
  represented 
  in 
  sculpture 
  

   with 
  seven 
  pipes, 
  and 
  occasionally 
  with 
  only 
  six. 
  In 
  other 
  respects, 
  the 
  Grecian 
  

   instrument 
  appears 
  to 
  differ 
  little 
  from 
  the 
  modern 
  organetto 
  ; 
  but 
  it 
  is, 
  in 
  some 
  

   of 
  its 
  modifications, 
  of 
  very 
  high 
  antiquity, 
  and 
  perhaps 
  preceded 
  the 
  invention 
  

   of 
  the 
  single 
  flute 
  (fiomuXos) 
  with 
  numerous 
  ventilages. 
  

  

  Lucretius 
  describes 
  Pan's 
  mode 
  of 
  playing 
  to 
  be 
  the 
  same 
  as 
  we 
  now 
  find 
  it 
  

   among 
  the 
  Italians 
  : 
  

  

  " 
  Unco 
  ssepe 
  labro 
  calainos 
  percurrit 
  hianteis 
  

   Fistula 
  sylvestrem 
  ne 
  cesset 
  fundere 
  Musam.'' 
  

  

  Lib. 
  iv., 
  592. 
  

  

  The 
  ancients 
  ascribed 
  the 
  invention 
  of 
  the 
  syrinx 
  to 
  the 
  disappointed 
  love 
  of 
  

   the 
  god 
  Pan, 
  amid 
  the 
  hills 
  of 
  his 
  favourite 
  Arcadia. 
  

  

  " 
  Pan 
  primus 
  calamos 
  cera 
  conjungere 
  plures 
  

   Instituit." 
  Virgil, 
  Eel. 
  II. 
  

  

  Both 
  Pan 
  and 
  the 
  pipe, 
  however, 
  had 
  probably 
  an 
  Egyptian 
  origin, 
  long 
  before 
  

   the 
  groves 
  of 
  Greece 
  were 
  haunted 
  by 
  any 
  deity 
  ; 
  and, 
  if 
  I 
  am 
  not 
  mistaken, 
  we 
  

   may 
  trace 
  the 
  syrinx 
  to 
  an 
  antediluvian 
  patriarch. 
  Jubal, 
  the 
  descendant 
  of 
  Cain, 
  

   is 
  in 
  Genesis 
  called 
  "the 
  father 
  of 
  all 
  such 
  as 
  handle 
  the 
  harp 
  and 
  organ." 
  

  

  The 
  English 
  translators 
  of 
  the 
  Bible 
  have 
  adopted 
  the 
  interpretation 
  of 
  the 
  

   Latin 
  Vulgate, 
  in 
  which 
  the 
  Hebrew 
  hyif, 
  Yogel,* 
  is 
  rendered 
  organum, 
  — 
  " 
  ipse 
  

   fuit 
  pater 
  canentium 
  cithera 
  et 
  organo." 
  This 
  passage, 
  in 
  the 
  Septuagint, 
  and 
  

   in 
  the 
  famous 
  Alexandrian 
  MS., 
  runs 
  thus 
  : 
  faros 
  h 
  i 
  xuia.fa%as 
  ^aXr^/ov 
  *«/ 
  xidugav 
  — 
  

   " 
  He 
  it 
  was 
  who 
  taught 
  the 
  psaltery 
  and 
  the 
  harp."f 
  

  

  * 
  Or, 
  with 
  points, 
  as 
  in 
  Walton's 
  Polyglott, 
  ibanpn. 
  

  

  f 
  The 
  Hebrew 
  name 
  is 
  derived 
  from 
  the 
  verb 
  Sap, 
  which, 
  in 
  the 
  Septuagint, 
  is 
  always 
  rendered 
  

   by 
  iiri7i6ri[Li, 
  I 
  join 
  together 
  ; 
  which 
  would 
  seem 
  to 
  indicate 
  that 
  it 
  consisted 
  of 
  reeds 
  or 
  pipes 
  put 
  

   together. 
  

  

  