1. The sound of skin, produced from the tanned skin, or parchment of various animals. 2. The sound of stone. 3. Of metal. 4. Of baked clay. 5. Of silk, used in the form of strings as we use cat-gut, or wire. 6. Of wood, used often in instruments of percussion. 7. Of bamboo, used in flutes. 8. Of calabash, a species of gourd, out of which a peculiarly constructed instrument was manufactured.
Of the skins of animals, many different instruments are made, all of which may be designated under the general name of drums, but the Chinese possess various kinds of drums of all shapes and sizes.[105] The most ancient variety of these was the Tou-kou, which signifies earth drum, so called because its body was made of baked clay, over each end of which was drawn the skin. An instrument of this description was both fragile and unwieldy; its disadvantages soon caused the clay to be replaced by wood, out of which all subsequent drums were made, the size and shape being varied according to the uses for which they were destined. Nothing is said in the ancient writings as to what varieties of wood were used in the manufacture of the earliest drums, but tradition has it, that at first the wood of the cedar and mulberry, as also sandal wood, were the most used.
The Chinese possess eight kinds of drums. 1. The tsou-kou, which had the shape of a barrel, and was fixed upon a pole which ran through its body. 2. The Yn-kou, similar to the above, but the body more elongated, and the staff or pole which supported it usually thrust into the earth to keep it firmly in position, while that of the tsou-kou stood upon a cross piece at its base.[106] 3. A variety of the tsou-kou called hiuen-kou, of very large size; on each side of this drum is attached a small drum, in shape like a kitchen pot, one of which is to be struck lightly, the other heavily. 4. The kin-kou, another keg-shaped drum mounted upon a pedestal; it is about six feet long, and six feet in diameter. It receives different names according to the way it is decorated; thus, if it bears on its case paintings of storms, it would be called lei-kou; but if it is ornamented with birds of good omen, such as the foang-hoang, or white swans, it is called lou-kou.[107] 5. The great tao-kou, which is still used to give the signal for the commencement of a song, is about one foot in length and diameter. 6. The little tao-kou, a cross between a drum and a baby’s rattle, is about seven inches long, mounted upon a stick, and through the centre of its case a string is passed; at each end of this string are knots; when this drum is played, the performer twirls it about rapidly, the knots fly against the skin, and produce a sort of rattle or drumming. This drum is used to show the completion of a verse or division of any musical composition. It is also used in funeral processions and at commemorative ceremonies.[108] 7. The ya-kou, a small drum which is filled with rice grains. The skin of this drum is not only tanned but is boiled afterwards in pure water. The sound of this instrument is soft and pleasant. 8. The po-sou is a drum of cylindrical shape, and is placed upon a small table; it is played sitting; in all other respects it is like the ya-kou.
These are the eight varieties of drums known to the Chinese; many of them are still in use; there are also some varieties of military drums which do not differ much from the preceding.
It is customary to cover not only the case, but the faces and sticks of the drums with paintings.
Drums are used in China to give the hour at night, to announce persons desiring audience, at some palaces, and for many other purposes as well as for music. The Chinese also sometimes muffle their drums (in all religious ceremonies which take place in presence of the emperor) effecting this not in our manner, but by covering the instrument with ornamented draperies of cloth, which absorb part of the sound.
OF THE SOUND OF STONE.
The custom of making a systematic use of stone, in music, is peculiarly a Chinese institution. In the Chouking, one of the most ancient of Chinese chronicles, we read that already in the almost mythological days of Yao and Chun, the Chinese had observed that certain kinds of stone were adapted to giving out musical sounds, and that these tones occupied the place between the sound of metal and of wood, being less sharp and penetrating than the former, and more sonorous than the latter, and more brilliant and sweet than either.
Even in those days they carved and shaped the stones, in order to extract from them the regular notes of their scale, and made instruments of them which even to-day are used in China, and are named king.
These musical stones were highly valued, and received as tribute as early as 2250 B. C. Those found on the surface of the earth, and near the banks of the rivers, were most esteemed, as it was supposed that their exposure gave clearness and purity to their tone.