In addition to all these various instruments, it is possible that the Assyrians may have made use of a sort of horn. An object is represented on a slab of Sennacherib’s which is certainly either a horn or a speaking-trumpet. It is carried by one of the supervisors of the works in a scene representing the conveyance of a colossal bull to its destination. In shape it no doubt resembles the modern speaking-trumpet, but it is almost equally near to the tuba or military trumpet of the Greeks and Romans. This will appear sufficiently on a comparison of the two representations, one of which is taken from Mr. Layard’s representation of Sennacherib’s slab, while the other is from a sculpture on the column of Trajan. As we have no mention of the speaking-trumpet in any ancient writer, as the shape of the object under consideration is that of a known ancient instrument of music, and as an ordinary horn would have been of great use in giving signals to workmen engaged as the laborers are upon the sculpture, it seems best to regard the object in question as such a horn—an instrument of great power, but of little compass—more suitable therefore for signal-giving than for concerts. [PLATE CXXX., Fig. 3.]
Passing now from the instruments of the Assyrians to the general features and character of their music, we may observe, in the first place, that while it is fair to suppose them acquainted with each form of the triple symphony, there is only evidence that they knew of two forms out of the three—viz, the harmony of instruments, and that of instruments and voices in combination. Of these two they seem greatly to have preferred the concert of instruments without voices; indeed, one instance alone shows that they were not wholly ignorant of the more complex harmony. Even this leaves it doubtful whether they themselves practised it: for the singers and musicians represented as uniting their efforts are not Assyrians, but Susianians, who come out to greet their conquerors, and do honor to the new sovereign who has been imposed on them, with singing, playing, and dancing.
Assyrian bands were variously composed. The simplest consisted of two harpers. A band of this limited number seems to have been an established part of the religious ceremonial on the return of the monarch from the chase, when a libation was poured over the dead game. The instrument in use on these occasions was the antique harp, which was played, not with the hand, but with the plectrum. A similar band appears on one occasion in a triumphal return from a military expedition belonging to the time of Sennacherib. [PLATE CXXI.]
In several instances we find bands of three musicians. In one case all three play the lyre. The musicians here are certainly captives, whom the Assyrians have borne off front their own country. It has been thought that their physiognomy is Jewish, and that the lyre which they bear in their hands may represent that “kind of harp” which the children of the later captivity hung up upon the willows when they wept by the rivers of Babylon. There are no sufficient grounds, however, for this identification. The lyre may be pronounced foreign, since it is unlike any other specimen; but its ornamentation with an animal head is sufficient to show that it is not Jewish. And the Jewish kinnor was rather a harp than a lyre, and had certainly more than four strings. Still, the employment of captives as musicians is interesting, though we cannot say that the captives are Jews. It shows us that the Assyrians, like the later Babylonians, were in the habit of “requiring” music from their prisoners, who, when transported into a “strange land,” had to entertain their masters with their native melodies.
Another band of three exhibits to us a harper, a player on the lyre, and a player on the double pipe. A third shows a harper, a player on the lyre, and a musician whose instrument is uncertain. In this latter case it is quite possible that there may originally have been more musicians than three, for the sculpture is imperfect, terminating in the middle of a figure.
Bands of four performers are about as common as bands of three. On an obelisk belonging to the time of Asshur-izir-pal we see a band composed of two cymbal-players and two performers on the lyre. A slab of Sennacherib’s exhibits four harpers arranged in two pairs, all playing with the plectrum on the antique harp. Another of the same date, which is incomplete, shows us a tambourine-player, a cymbal-player, a player on the nondescript instrument which has been called a sort of rattle, and another whose instrument cannot be distinguished. In a sculpture of a later period, which is represented above, we see a band of four, composed of a tambourine-player, two players on two different sorts of lyres, and a cymbal-player.
It is not often that we find representations of bands containing more than four performers. On the sculptures hitherto discovered there seem to be only three instances where this number was exceeded. A bas-relief of Sennacherib’s showed five players, of whom two had tambourines; two, harps of the antique pattern; and one, cymbals. Another, belonging to the time of his grandson, exhibited a band of seven, three of whom played upon harps of the later fashion, two on the double pipe, one on the guitar, and one on the long drum with the conical bottom. Finally, we have the remarkable scene represented in the illustration, a work of the sane date, where no fewer than twenty-six performers are seen uniting their efforts. Of these, eleven are players on instruments, while the remaining fifteen are vocalists. The instruments consist of seven harps, two double pipes, a small drum or tubbel, and the curious instrument which has been compared to the modern santour. The players are all men, six out of the eleven being eunuchs. The singers consist of six women and nine children of various ages, the latter of whom seem to accompany their singing, as the Hebrews and Egyptians sometimes did, with clapping of the hands. Three out of the first four musicians are represented with one leg raised, as if dancing to the measure. [PLATE CXXXII., Fig. 1.]