From primitive stringed instruments played with a bow, such as the Celtic crwth and the Oriental rebab, devolved the vielle, thence the subsequent varieties of viols proper, finally, at the end of the sixteenth century, the modern string quartet.
The pianoforte owes its origin to the monochord and psaltery with keyboard attachment, as developed from the dulcimer of the fourteenth and fifteenth centuries, the clavichord and harpsichord of the sixteenth to the Hammerklavier of the eighteenth century. The clavichord was derived from the monochord, the harpsichord from the psaltery, the pianoforte from the dulcimer. The strings of the dulcimer were played upon by hammers held in the hand; the clavichord strings were mechanically pressed up; those of the harpsichord were plucked by quills; whereas the pianoforte is supplied with hammer-action.
The invention of wind instruments probably antedates that of strings. Emanating from the ancient Egyptian vertical flute, the flûte à bec of the Middle Ages matured into the modern horizontal flute. Akin to the single-reed species of the Greek aulos, Latin tibia, were the popularized schalmei, predecessors of the pommer and oboe families. The single-reeded modern clarinet, that came into existence the end of the seventeenth century, was an outgrowth of the chalemiax of mediævalism.
From the Roman lituus and buccina devolved side by side the trombe and Zinken of the Middle Ages. Experimental development through the stages of bent tubes, slide mechanism, finger holes, removable crooks, chromatic valves, perfected the valve-trumpet, the bugle-horn, the slide-trombone.
Instruments of percussion are the parents of all other instruments. Certain species subsequently became distinctly characteristic of certain distinct races; those most effective are now incorporated in the modern orchestra. Of significant importance are the kettle-drums by reason of their unalloyed artistic value.
[Chapter IV.] Beginnings of Orchestration.
Monteverde's creative genius led to three tangible results:—(1) Dramatic expression; (2) the founding of a serviceable orchestra based on bowed instruments; (3) diversity of style between vocal and instrumental composition.
(1) In writing for the stage, he aimed at an intensification of dramatic effects, variety in tone-color, a freer accompaniment, and relief from the monotony of recitative by the employment of a primitive arioso form. The fruits of these dramatic efforts were reaped by Carissimi in Italy, Schütz in Germany, Lulli in France.
(2) The founding of a serviceable orchestra was the result of his expressive and dramatic instinct fostered by the attempts of the Florentine experimentalists,—orchestral music and the drama being, moreover, at that time practically inseparable. His orchestration emphasized the value of strings, readjusted the balance of the wind, and suggested contrasted choirs of instruments.