[3] Aristotle (de Audib. 802 b 18, and 804 a) and Porphyry (ed. Wallis, pp. 249 and 252) mention that if the performer presses the zeuge (mouthpiece) or the glottai (reeds) of the pipes, a sharper tone is produced.
[4] Cf. V.C. Mahillon, Éléments d’acoustique musicale et instrumentale (Brussels, 1874), p. 161; and Fr. Zamminer, Die Musik und die musikalischen Instrumente in ihrer Beziehung zu den Gesetzen der Akustik ... (Giessen, 1855), pp. 297 and 298.
[5] “The Aulos or Tibia,” Harvard Studies, iv. (Boston, 1893).
[6] De Musica, 1138.
[7] Op. cit. pp. 160 et seq.; and Wilhelm Altenburg, Die Klarinette (Heilbronn, 1904), p. 9, who refers to Mahillon.
[8] See Macrobius, Comm. in somnium Scipionis, ii. 4. 5 “nec secus probamus in tibiis de quarum foraminibus vicinis inflantis ori sonus acutus emittitur, de longinquis autem et termino proximis, gravior: item acutior per patentiora foramina, gravior per angusta.”
[9] See Victor Loret, L’Égypte au temps des Pharaons—la vie, le science, et l’art (Paris, 1889), illustration p. 139 and p. 143. The author gives no information about this fresco except that it is in the Musée Guimet. It is probably identical with the second of the mural paintings described on p. 190 of Petit guide illustré au Musée Guimet, par L. de Milloue.
[10] See Victor Loret, “Les flûtes égyptiennes antiques,” Journal asiatique (Paris, 1889), [8], xiv. pp. 129, 130, 132.
[11] See also A.A. Howard, “Study on the Aulos or Tibia,” Harvard Studies, vol. iv. (Boston, 1893); F.C. Gevaert, Musique de l’antiquité; Carl von Jan, article “Floete” in August Baumeister’s Denkmäler des klassischen Alterthums (Leipzig, 1884-1888), vol. i.; Dr Hugo Riemann, Handbuch der Musikgesch. vol. i. p. 90, &c. (Leipzig, 1904); all of whom have not come to the same conclusions.
[12] Wilhelm Froehner, La Colonne trajane (Paris, 1872), t. ii. pl. 76.