MUSICAL INSTRUMENTS. 
dant variety. The side or military drum 
is vrell known; it is monotonous, but habit 
has so far reconciled us to its uses that we 
consider it as a musical instrument, though 
it is not in strictness entitled to that desig- 
nation; nor is any instrument of this de- 
scription to be so classed, excepting the 
kettle-drum, or timbale, which being re- 
gularly tuned, the one to the key note, 
and the other to its fourth below or fifth 
above, are satisfactorily and efficiently in- 
troduced into full bands, in which their 
emphasis, their powers, and their thunder- 
ing roll, frequently prove very acceptable 
aids, and produce the richest effects. The 
kettle-drum derives its English name from 
its form, the bottom being a large semi- 
spherical kettle of copper, and the head 
being of vellum stretched on a metal hoop, 
which being lowered or raised at pleasure, 
so as to vary the internal measurement, 
can be tuned precisely to any given intona- 
tion. They are accounted bass-instruments, 
on account of their grave sounds. Though 
our cavalry, for many years, were general- 
ly provided with kettle-drums, yet they 
were not of our own invention ; nor were 
they known in Europe before the holy wars ; 
when they were first adopted from the 
Saracens, or Moors, who wrere accustomed 
to carry them, of immense bulk, suspended 
on either side of camels; the driver beating 
as the animal moved on. The Asiatic 
princes consider the kettle-drum as the in- 
dication of royalty; or, at least, of pre- 
eminent rank and power ; accordingly 
the naugaurah, or nagarah, is even to be 
heard in the kobats, or musical balconies, 
over the gates of princes, and in all state 
processions : it is likewise used by tlie 
priests of the Mussulman religion, to an- 
nounce the hour of prayers, &c. The de- 
signation, i. e. naugaurah, is to be found in 
Hindu manuscripts of a much older date 
than any of our European records, or au- 
thenticated traditions. The musicians of 
Hindostan likewise use a very small pair 
of kettle-drums, with wooden bottoms, 
which they call taublahs; these are fixed 
in the cloth they pass around their waists, 
and are beat with three fingers of each 
hand, in a very peculiar manner, and pro- 
ducing very curious effects, according as 
the fingers are more or less protruded to- 
wards the centre of the taublah. Their 
note, as in our side drum, is perfectly ad- 
ventitious. The bass-drum, by many called 
the Turkish-drum, is very large, and usually 
carried crossways before the performer. 
who beats one end with a short club, hav- 
ing a large knob at its end ; the left h ind 
is provided with a lighter stick, or a bum h 
of split rattans, &c. so as to vary the sound 
considerably ; but only the right hand beats 
upon the accented parts of the measure. 
This instrument is derived from the Indian 
long-drum, called the dole, which, instead 
of being cylindrical, is of a barrel-form, 
contracting much towards the ends, which 
are covered wilh raw skins of different 
thickness ; no stick is used, the performers 
beating with their fingers. 
The Tabor is a small drum, so flat, that 
the two heads are not more than three inches 
asunder. It is only used as an accompani- 
ment to the pipe, for dances, &c. The 
tambourine is a kind of drum with only one 
head, tire other end of the hoop, which is 
not more than four inches in breadth, being 
open ; the head, which is of the best parch- 
ment, is fixed to an iron rim, and by 
means of screws fixed to the exterior of 
the hoop, can be tightened at pleasure. 
The performer puts the thumb of his left 
hand through a hole in the hoop, lined with 
an ivory, moveable bush or box, to pre- 
vent chafing. In this manner he whirls the 
tambourine about, and makes the brass 
jingles, or cymbals, (as they are called) 
which are inserted in pairs, through slits in 
the hoop, strike so as to produce various 
sounds, either clashing or tremulous, ac- 
cording as he may apply his right hand. 
The performer should have plenty of well 
pulverized resin, strewed on the face of the 
tambourine, so that when he rolls, by means 
of the tip of a finger being rubbed thereon, 
tire instrument may sound well. The mili- 
tary tambourines have generally an iron 
bar across the interior, furnished with bells 
of various sorts and sizes. This instrument 
was for some years much in vogue among 
the English ladies, as an accompaniment, 
jointly with a triangle, for the piano-forte. 
It is not easy to account for so heterogene- 
ous an assemblage, unless in the opportiinity 
afforded of displaying symmetry of form 
and graceful action. The good sense of 
the sex, however, speedily dismissed so 
absurd a combination, and allowed our 
ears to be again delighted with the purity 
of harmony, supporting the melody of a 
fine voice. Though the term tambourine 
would imply it to be of French invention, 
and to mean only a little drum, we are 
rather disposed to believe it originated in 
the coonjery, which is extremely like it, 
though smaller, and has been in GomraoM 
