Wood-winds were of two kinds: those with and those without reeds or vibrating tongues. The former are represented by the oboe and clarinet, the latter by the flute proper. From specimens found in Pompeii and elsewhere it is known that the Greeks were familiar with reed instruments, especially those provided with a single tongue, and therefore of the clarinet class. If we are to trust the evidence of ancient myths (cf. legend of Apollo and Marsyas), the Greeks owed this instrument to the Phrygians, who may have acquired the double flute from the Assyrians.
Whether the Aa/il was a single or double flute, or a flue or reed pipe, we donot know. Itis certain that the Hebrews had every opportunity of becom- ing acquainted with all these kinds, but we have no information on the subject. In any case, the number of notes was limited to those produced by stopping the holes with the fingers, as the keyed flute is entirely a modern invention.
It has been held by some that πεζοῦ (273 Ezk 9818 AV and RV ‘pipes’) designates the double flute ; but this is inconsistent with the context, and is altogether erroneous. A. B. Davidson renders the word ‘ grooves.’
Again, néhiloth (nib) in the heading of Ps 5 is a term of very uncertain meaning.
(Ὁ) The ‘ugab (339 or 3py) is a somewhat uncer- tain term. The LXX renders the word variously, κιθάρα (Gn 47), ψαλμός (Job 21 30%), and ὄργανον (Ps 1504). It is not a general term for a musical instrument (ὄργανον), as we can see from the con- text. Some writers think it to have been a syrinz or Pan’s pipe, others a bagpipe. But we have really no evidence in support of either view. If a3y means ¢o blow in (which, it must be confessed, is pure conjecture), then the noun would denote wind instruments in general, and this gives a good sense in all the above passages. Thus Jubal (Gn 4%) is the inventor of string and wind instru- ments, and in Ps 150 minnim and ‘ugab represent the same divisions of the orchestra.
(c) Mashrokithd (xpprep) is another of the instru- ments mentioned in Dn (35: 7.16. The name is derived from a verb meaning fo hiss, and is there- fore applicable either to the oblique flute or Pan’s pipe. Of course the hissing effect is more pro- nounced in playing the syrinz, and it is most probably the instrument meant. d 5
(d) The symphonia (732510) is also mentioned in Dn (3°) alone. The Greek συμφωνία, from which
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this word is derived, did not originally denote an instrument, but a concordant interval. Tradition applies it to the bagpipe. Originally the form of this instrument may ee been developed from the double flute, one of the pipes being shorter and being used for the melody, while the longer fur- nished a droning bass accompaniment. We are told by Athenzeus (Lib, x. p. 439) that Antiochus Epiphanes used to dance to the sound of the sym- phonia. To this day the Italians have a bagpipe called zampugna or sampogna, and a chifonie or She Was an instrument of the same class used in the Middle Ages. Im Rome this instru- ment was introduced in the time of the Empire under the name of tibia utricularis or chorus, and soon became highly popular. Seneca (Zp. 76) is indignant at the mate bestowed on a bagpipe player.
(ce) The horn (rs'8 shophar, 7p keren ; AV trumpet, and so confused with Adzozérah except where they occur together, when 15w is rendered cornet [see Driver, Joel and Amos, p. 1467) originally consisted of aram’s horn. It was afterwards sometimes made of metal, but the actual ram’s horn was always re- tained for certain purposes. It had a loud piercing tone, was of limited compass, and was wholly un- suited to concerted music. It was used to summon the people to attention, and for making signals. The first mention of it in the OT is at the giving of the law (Ex 19). Its blasts proclaimed the year of Jubilee (Ly 25°). The ‘ blowing’ (ay"), commanded in Nu 99], was probably performed on the shophar, as it is still employed at that festival. It was also blown at the feast of the New Year and on fast- days. In time of war the shéphar summoned and assembled the army (Jg 3” and often), and the prophet foretold that it should announce the recall of the people from exile (Is 27"),
MODERN SHOPHAR
The shdphar is retained in the service of the modern synagogue : it is blown during the services on New Year's Day (except when that happens to be a Sabbath), at the conclusion of the Day of Atonement, on the 7th day of the Feast of Taber- nacles, and during the entire month of Elul, after the recital of the supplications. The modern shophar is a real ram’s horn, curved at the end, but otherwise straightened by heat.
(f) The trumpet or hdzozérah (77s%n) is the only Heb, instrument of which we have an indubitably
TABLE OF SHEWBREAD AND TRUMPETS. (From Arch of Titus).
authentic representation. On the Arch of Titus two specimens are depicted along with the golden Table of Shewbread. Some little difficulty has
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been caused by their not tallying perfectly with the description given by Josephus (An. I. xii. 6). He says that the trumpet (asdsra) was nearly a yard long, a little wider than a flute, with a slight expansion near the mouthpiece, to catch the breath, and ending in a bell, just as in the war- trumpets. This description corresponds with the form of trumpet shown on a coin of the time of the emperor Hadrian, which bears the inserip- tion pdeyy mind ‘ Deliverance of Jerusalem.’ The instruments on the Arch of Titus, of which we do not see the mouthpiece, are very long, being sup- ported by rests, ait gradually swell out into along and not very wide bell. See, further, TRUMPET.