“My voice on high dispels the storm.”
“I am called Ave Maria
I drive away storms.”“I who call to thee am the Rose of the World and am called Ave Maria.”
The Egyptian sistrum, which in Roman times played an important rôle in the worship of Isis, was shaped somewhat like a tennis racquet, with four wire strings on which rattles were strung. The sound of it must have been akin to that of our modern tambourine, and it served much the same purpose as the primitive drum, namely, to drive away Typhon or Set, the god of evil. Dead kings were called “Osiris” when placed in their tombs, and sistri put with them in order to drive away Set.
Beside bells and rattles we must include all instruments of the tambourine and gong species in the drum category. While there are many different forms of the same instrument, there are evidences of their all having at some time served the same purpose, even down to that strange instrument about which Du Chaillu tells us in his “Equatorial Africa”, a bell of leopard skin, with a clapper of fur, which was rung by the wizard doctor when entering a hut where someone was ill or dying. The leopard skin and fur clapper seem to have been devised to make no noise, so as not to anger the demon that was to be cast out. This reminds us strangely of the custom of ringing a bell as the priest goes to administer the last rites.
It is said that first impressions are the strongest and most lasting; certain it is that humanity, through all its social and racial evolutions, has retained remnants of certain primitive ideas to the present day. The army death reveille, the minute gun, the tolling of bells for the dead, the tocsin, etc., all have their roots in the attributes assigned to the primitive drum; for, as I have already pointed out, the more civilized a people becomes, the more the word-symbols degenerate. It is this continual drifting away of the word-symbols from the natural sounds which are occasioned by emotions that creates the necessity for auxiliary means of expression, and thus gives us instrumental music.
Since the advent of the drum a great stride toward civilization had been made. Mankind no longer lived in caves but built huts and even temples, and the conditions under which he lived must have been similar to those of the natives of Central Africa before travellers opened up the Dark Continent to the caravan of the European trader. If we look up the subject in the narratives of Livingstone or Stanley we find that these people lived in groups of coarsely-thatched huts, the village being almost invariably surrounded by a kind of stockade. Now this manner of living is identically the same as that of all savage tribes which have not passed beyond the drum state of civilization, namely, a few huts huddled together and surrounded by a palisade of bamboo or cane. Since the pith would decompose in a short time, we should probably find that the wind, whirling across such a palisade of pipes—for that is what our bamboos would have turned to—would produce musical sounds, in fact, exactly the sounds that a large set of Pan's pipes would produce. For after all what we call Pan's pipes are simply pieces of bamboo or cane of different lengths tied together and made to sound by blowing across the open tops.
The theory may be objected to on the ground that it scarcely proves the antiquity of the pipe to be less than that of the drum; but the objection is hardly of importance when we consider that the drum was known long before mankind had reached the “hut” stage of civilization. Under the head of pipe, the trumpet and all its derivatives must be accepted. On this point there has been much controversy. But it seems reasonable to believe that once it was found that sound could be produced by blowing across the top of a hollow pipe, the most natural thing to do would be to try the same effect on all hollow things differing in shape and material from the original bamboo. This would account for the conch shells of the Amazons which, according to travellers' tales, were used to proclaim an attack in war; in Africa the tusks of elephants were used; in North America the instrument did not rise above the whistle made from the small bones of a deer or of a turkey's leg.
That the Pan's pipes are the originals of all these species seems hardly open to doubt. Even among the Greeks and Romans we see traces of them in the double trumpet and the double pipe. These trumpets became larger and larger in form, and the force required to play them was such that the player had to adopt a kind of leather harness to strengthen his cheeks. Before this development had been reached, however, I have no doubt that all wind instruments were of the Pan's pipes variety; that is to say, the instruments consisted of a hollow tube shut at one end, the sound being produced by the breath catching on the open edge of the tube.
Direct blowing into the tube doubtless came later. In this case the tube was open at both ends, and the sound was determined by its length and by the force given to the breath in playing. There is good reason for admitting this new instrument to be a descendant of the Pan's pipes, for it was evidently played by the nose at first. This would preclude its being considered as an originally forcible instrument, such as the trumpet.
Now that we have traced the history of the pipe and considered the different types of the instrument, we can see immediately that it brought no great new truth home to man as did the drum.
The savage who first climbed secretly to the top of the stockade around his village to investigate the cause of the mysterious sounds would naturally say that the Great Spirit had revealed a mystery to him; and he would also claim to be a wonder worker. But while his pipe would be accepted to a certain degree, it was nevertheless second in the field and could hardly replace the drum. Besides, mankind had already commenced to think on a higher plane, and the pipe was reduced to filling what gaps it could in the language of the emotions.