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List of European medieval musical instruments

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This is a list of medieval musical instruments used in European music during the Medieval period. It covers the period from before 1150 to 1400 A.D.

Part of a series on
Medieval music
Overview
Movements and schools
Major figures
Major forms



Percussion

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Names and variations Description Ethnic connections, regions Pictures Pictures
Adufe[1] A frame drum brought to Iberia by Muslims and played mainly by women.[2] Used in the charamba in Portugal, a circle dance for couples.[2]

The adufe is a square or rectangular frame drum usually made of pine, over which is mounted a goat's skin. The size of the frame usually ranges from 12 to 22 inches on each side, and 1 to 2 inches thick. The skin is stitched on the sides, with the stitches covered by a coloured ribbon. In the interior small seeds or small stones are placed to make pleasing sounds.

Iberia

Porugul

Spain

Musicians, Crusader Bible, MS M.638, fol. 29r
1240s A.D., France. An adulf (square held over the group's head)
Circa 1320, Barcelona. Woman playing an adufe, from an illustration in the Golden Haggadah.
Bells
Bell table
Bumbulum (legendary)
Clappers

cliquettes

Clappers from the Carolingian Empire appear to have been disks or possibly chimes attached to sticks. Other versions were blocks of wood held in the palms. The palm-held blocks could make clicking and rattle noises like castanets. Other similar instruments worldwide include the Thai/Cambodian krap sepha, Indian/Nepali khartal, Uzbek/Tajik qairaq, or North African krakebs.
795 A.D., France or Germany. Carved ivory bookcover, showing man playing clappers, from the Dagulf psalter
Circa 850 A.D. Musicians in the Utrecht Psalter holding a lyre and clappers.
Circa 1250 A.D. Crusader Bible (MS M.638, fol. 39r) cropped for cliquettes. Also a bell and a clarinet.
1280 A.D. Cliquettes or clappers (in the woman's hands) from the Musician's Codex, Cantigas de Santa Maria.
Cymbals
970 A.C. Cymbals in the Valcavado Beaus, Spain
Cymbals in the Golden Haggadah, circa 1320
*Frame drum
Jew's harp[3]
Nakers
Troubadors playing nakers and vielle, from the Olomouc Bible, folio 276R
Pandeiro[4]
Tabor

Pipe and tabor

Pipe and tabor, from the Cantigas de Santa Maria, circa 1280 A.D.
Pipe and tabor
Tof

Timbrel[5]

Tambourine

Tof was the Hebrew instrument which Miriam played, "most commonly translated" into English as timbrel[6] Near eastern origin, used by Gauls, Greeks, Romans (tympanum), Egyptians, Assyrians. [7] Jingles were probably originally separate from this instrument.[7] Also related to Daff.[7]
1300-1325 Belgium/Netherlands. Angel with tambourine in Maastricht Book of Hours, folio 129R
1320 A.D., Barcelona, from the Golden Haggadah; Miriam was known for playing the timbrel
Triangle
Musician plays triangle in Olomouc Bible, folio 276R

String instruments

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Names and variations Description Ethnic connections, regions Pictures Pictures
Citole[8][9]
Circa 1310 A.D. Citole from the Robert de Lisle Psalter.
Cretan lyra
Dulcimer
Fiddle see also rabel, vielle, vihuela de arco
Fiddle from Theodore Psalter, folio 191R, 11th century A.D., Byzantine Empire
Gittern[9]
Guitarra latina One writer has summed up the guitarra latina, which is not well defined, saying "For musicians in Alfonso’s time it may have meant only 'a plucked stringed instrument: not the Muslim one.'"[10]
Instrument on left has been called guitarra latina and citole. Instrument on right has been called guitarra morisca (Moorish guitar) and vihuela peñola (quill plucked guitar).
Fiddle at left could be called a vielle. Instrument on left has been called both guitarra latina and citole.


Guitarra morisca[11]
unknown guitarra
unknown guitarra
Possible guitarras morisca. The Moors (if they mean Africans) had a tradition of wood-bowed lutes covered with leather. Arab/Persian Muslims had a different carved wood with leather tradition (barbat and gambus). Either group was called Moors in Spain.
Medieval harp (Medieval form of the modern harp)
Harp from Theodore Psalter, 11th century A.D., Byzantine Empire
Lute[12]
Rebec or rebab (left), lute right.
|
Lyre
Organistrum (large form of medieval hurdy-gurdy)

Hurdy-gurdy

Symphonia

Possible symphonia, a name that meant hurdy-gurdy or organstrum from the 12th century on.[13]
Psaltery
1280 A.D. Cantigas de Santa Maria. Psaltery being played with two hands, probably base at bottom to treble strings higher.
Rabel Fiddle, probably descended from rebec
Rabel or possibly rebec. Line around edge of soundboard indicates this instrument had a skin soundboard.
Musicians from the arch of the 12th entury A.D. West portal of Santo Domingo Church, Soria, Spain
Unnamed fiddle. Possibly rabel or vihuela de arco or rebec. Santiago Catedral Quintana
Rebab

Rabé morisco

Rebab is a word for various kinds of fiddle in the Muslim world. Spelling is loose, because Arabic does not write down vowels sounds. Rabab, rebab, rubab, ribab have all been used, and some of them are used for plucked instruments in Asia as well.
Bowed instrument resembling Maghreb rebabs. Spanish and Catalonian names for this include Rebac and Rabel (both are instruments played on the arm, rather than the knee), but its shape closely resembles these.
circa 1437. Angel or possiby Mary, Queen of Heaven playing a rebab. Panel of the Altarpiece of Santa María la Mayor of Albalate del Arzobispo (province of Teruel). It is preserved in the Museum of Zaragoza.
Rebabs from 1280 A.D. that resemble modern Maghreb rebabs. These have also been called rabé morisco (Moorish rebecs).
Instrument seen only in Cantigas de Santa Maria. Resembles guitarra but is played vertically like a rebab or a later viol (viola de gamba or vihuela de gamba). Unlike these, it is shown played vertically while standing.
Rebec[14]
Modern rebec
Rotte
Tromba marina
Vielle
Possible vielles. Could also be vihuela de arco
Vihuela de arco

Vihuela de arco pequeña (small bowed vihuela)

Possibly the vihuela de arco (bowed vihuela) and vihuela de penola (quill plucked vihuela) The bowed instrument could be called a vielle
Vihuela de arco (bowed vihuela). The downward bowed fiddles came to be called Viols, as in Viola de gamba (viol of the legs). Vihuela was the Spanish name, and in Spain the vihuelas became plucked more than bowed.
Spain, "second third of 10th century".[15] Vihuelas de arco or Violas de arco played with a bow. From Commentary on the Apocalypse, Codice VITR 14.1.[16]
Zither


Artist's rendering of a medieval harp

Wind instruments

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References

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  1. ^ Gutwirth, Eleazar (1998). "Music, Identity and the Inquisition in Fifteenth-Century Spain". Early Music History. 17: 161–181. doi:10.1017/S0261127900001637. ISSN 0261-1279. JSTOR 853882.
  2. ^ a b Schechter, John M. (1984). "Adulfe". In Sadie, Stanley (ed.). The New Grove Dictionary of Musical Instruments. Vol. 1. p. 25.
  3. ^ The Jew's harp : a comprehensive anthology. Leonard Fox. Lewisburg: Bucknell University Press. 1988. ISBN 0-8387-5116-4. OCLC 16356799.{{cite book}}: CS1 maint: others (link)
  4. ^ Mauricio Molina (2006). Frame Drums in the Medieval Iberian Peninsula. pp. 101–. ISBN 978-0-542-85095-0. Retrieved 25 December 2012.
  5. ^ "TIMBREL - JewishEncyclopedia.com". Jewishencyclopedia.com. Retrieved 2016-05-13.
  6. ^ Sadie, Stanley, ed. (1984). "Timbrel". The New Grove Dictionary of Musical Instruments. Vol. 3. p. 585.
  7. ^ a b c Sadie, Stanley, ed. (1984). "Tambourine". The New Grove Dictionary of Musical Instruments. Vol. 3. p. 511.
  8. ^ [1] [dead link]
  9. ^ a b Baker, Paul. "The Gittern and Citole". Retrieved 4 December 2016.
  10. ^ Bouterse, Curt. "Medieval Instruments V: Fiddles – Curt Bouterse".
  11. ^ Galpin, Francis William (1911). Old English Instruments of Music. Chicago: A. C. McClurg and Company. pp. 21–22.
  12. ^ "A Panoply of Instruments for Medieval, Renaissance, and Baroque Music". Music Educators Journal. 65 (9): 38–69. 1979. doi:10.2307/3395616. ISSN 0027-4321. JSTOR 3395616.
  13. ^ Brown, Howard Mayer (1984). "Symphonia". In Sadie, Stanley (ed.). The New Grove Dictionary of Musical Instruments. Vol. 3. p. 483.
  14. ^ Spohnheimer. "The Rebec". Music.iastate.edu. Archived from the original on 2016-05-04. Retrieved 2016-05-13.
  15. ^ "Título uniforme [In Apocalipsin] Title Beati in Apocalipsin libri duodecim". bdh.bne.es. BIBLIOTECA DIGITAL HISPÁNICA. Retrieved 10 December 2016.
  16. ^ "Título uniforme [In Apocalipsin] Title Beati in Apocalipsin libri duodecim". bdh.bne.es. Biblioteca Digital Hispánica. Retrieved 10 December 2016.
  17. ^ Jones, G. Fenwick (1949). "Wittenwiler's "Becki" and the Medieval Bagpipe". The Journal of English and Germanic Philology. 48 (2): 209–228. ISSN 0363-6941. JSTOR 27713052.
  18. ^ Spohnheimer. "The Sacbut". Music.iastate.edu. Archived from the original on 2016-05-04. Retrieved 2016-05-13.
  19. ^ Spohnheimer. "The Renaissance Shawm". Music.iastate.edu. Archived from the original on 2016-05-25. Retrieved 2016-05-13.
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