Critical and Historical Essays, Edward MacDowell [fun to read .txt] 📗

shall see later how these bards became seers, and how even our very angels received harps, so closely did the instrument become associated with what I have called impassioned speech, which, in other words, is the highest expression of what we consider godlike in man.


III

THE MUSIC OF THE HEBREWS AND THE HINDUS


The music of the Hebrews presents one of the most interesting subjects in musical history, although it has an unfortunate defect in common with so many kindred subjects, namely, that the most learned dissertation must invariably end with a question mark. When we read in Josephus that Solomon had 200,000 singers, 40,000 harpers, 40,000 sistrum players, and 200,000 trumpeters, we simply do not believe it. Then too there is lack of unanimity in the matter of the essential facts. One authority, describing the machol, says it is a stringed instrument resembling a modern viola; another describes it as a wind instrument somewhat like a bagpipe; still another says it is a metal ring with a bell attachment like an Egyptian sistrum; and finally an equally respected authority claims that the machol was not an instrument at all, but a dance. Similarly the maanim has been described as a trumpet, a kind of rattle box with metal clappers, and we even have a full account in which it figures as a violin.

The temple songs which we know have evidently been much changed by surrounding influences, just as in modern synagogues the architecture has not held fast to ancient Hebrew models but has been greatly influenced by different countries and peoples. David may be considered the founder of Hebrew music, and his reign has been well called an "idyllic episode in the otherwise rather grim history of Israel."

Of the instruments named in the Scriptures, that called the harp in our English translation was probably the kinnor, a kind of lyre played by means of a plectrum, which was a small piece of metal, wood, or bone. The psaltery or nebel (which was of course derived from the Egyptian nabla, just as the kinnor probably was in some mysterious manner derived from the Chinese kin) was a kind of dulcimer or zither, an oblong box with strings which were struck by small hammers. The timbrel corresponds to our modern tambourine. The schofar and keren were horns. The former was the well-known ram's horn which is still blown on the occasion of the Jewish New Year.

In the Talmud mention is made of an organ consisting of ten pipes which could give one hundred different sounds, each pipe being able to produce ten tones. This mysterious instrument was called magrepha, and although but one Levite (the Levites were the professional musicians among the Hebrews) was required to play it, and although it was only about three feet in length, its sound was so tremendous that it could be heard ten miles away. Hieronymus speaks of having heard it on the Mount of Olives when it was played in the Temple at Jerusalem. To add to the mystery surrounding this instrument, it has been proved by several learned authorities that it was merely a large drum; and, to cap the climax, other equally respected writers have declared that this instrument was simply a large shovel which, after being used for the sacrificial fire in the temple, was thrown to the ground with a great noise, to inform the people that the sacrifice was consummated.

It is reasonably certain that the seemingly incongruous titles to the Psalms were merely given to denote the tune to which they were to be sung, just as in our modern hymns we use the words Canterbury, Old Hundredth, China, etc.

The word selah has never been satisfactorily explained, some readings giving as its meaning "forever," "hallelujah," etc., while others say that it means repeat, an inflection of the voice, a modulation to another key, an instrumental interlude, a rest, and so on without end.

Of one thing we may be certain regarding the ancient Hebrews, namely, that their religion brought something into the world that can never again be lost. It fostered idealism, and gave mankind something pure and noble to live for, a religion over which Christianity shed the sunshine of divine mercy and hope. That the change which was to be wrought in life was sharply defined may be seen by comparing the great songs of the different nations. For up to that time a song of praise meant praise of a King. He was the sun that warmed men's hearts, the being from whom all wisdom came, and to whom men looked for mercy. If we compare the Egyptian hymns with those of the Hebrews, the difference is very striking. On the walls of the great temples of Luxor and the Ramesseum at Thebes, as well as on the wall of the temple of Abydos and in the main hall of the great rock-hewn temple of Abu-Simbel, in Nubia, is carved the "Epic of Pentaur," the royal Egyptian scribe of Rameses II:

My king, his arms are mighty, his heart is firm. He
bends his bow and none can resist him. Mightier
than a hundred thousand men he marches forward. His
counsel is wise and when he wears the royal crown,
Alef, and declares his will, he is the protector of
his people. His heart is like a mountain of iron. Such
is King Rameses.

If we turn to the Hebrew prophets, this is their song:

The mountains melted from before the Lord and before
Him went the pestilence; burning coals went forth at
His feet. Hell is naked before Him and destruction
hath no covering. He hangeth the earth upon nothing
and the pillars of heaven tremble and are astonished
at His reproof. Though He slay me, yet will I trust
in Him. For I know that my Redeemer liveth, and at
the last day He shall stand upon the earth.

As with the Hebrews, music among the Hindus was closely bound to religion. When, 3000 years before the Christian era, that wonderful, tall, white Aryan race of men descended upon India from the north, its poets already sang of the gods, and the Aryan gods were of a different order from those known to that part of the world; for they were beautiful in shape, and friendly to man, in great contrast to the gods of the Davidians, the pre-Aryan race and stock of the Deccan. These songs formed the Rig-Veda, and are the nucleus from which all Hindu religion and art emanate.

We already know that when the auxiliary speech which we call music was first discovered, or, to use the language of all primitive nations, when it was first bestowed on man by the gods, it retained much of the supernatural potency that its origin would suggest. In India, music was invested with divine power, and certain hymns-especially the prayer or chant of Vashishtha-were, according to the Rig-Veda, all powerful in battle. Such a magic song, or chant, was called a brahma, and he who sang it a brahmin. Thus the very foundation of Brahminism, from which rose Buddhism in the sixth century B.C., can be traced back to the music of the sacred songs of the Rig-Veda of India. The priestly or Brahmin caste grew therefore from the singers of the Vedic hymns. The Brahmins were not merely the keepers of the sacred books, or Vedas, the philosophy, science, and laws of the ancient Hindus (for that is how the power of the caste developed), but they were also the creators and custodians of its secular literature and art. Two and a half thousand years later Prince Gautama or Buddha died, after a life of self-sacrifice and sanctity. On his death five hundred of his disciples met in a cave near Rajagriha to gather together his sayings, and chanted the lessons of their great master. These songs became the bible of Buddhism, just as the Vedas are the bible of Brahminism, for the Hindu word for a Buddhist council means literally "a singing together."

Besides the sacred songs of the Brahmins and Buddhists, the Hindus had many others, some of which partook of the occult powers of the hymns, occult powers that were as strongly marked as those of Hebrew music. For while the latter are revealed in the playing of David before Saul, in the influence of music on prophecy, the falling of the walls of Jericho at the sound of the trumpets of Joshua, etc., in India the same supernatural power was ascribed to certain songs. For instance, there were songs that could be sung only by the gods, and one of them, so the legend runs, if sung by a mortal, would envelop the singer in flames. The last instance of the singing of this song was during the reign of Akbar, the great Mogul emperor (about 1575 A.D.). At his command the singer sang it standing up to his neck in the river Djaumna, which, however, did not save him, for, according to the account, the water around him boiled, and he was finally consumed by a flame of fire. Another of Akbar's singers caused the palace to be wrapped in darkness by means of one of these magic songs, and another averted a famine by causing rain to fall when the country was threatened by drought. Animals were also tamed by means of certain songs, the only relic of which is found in the serpent charmers' melodies, which, played on a kind of pipe, seem to possess the power of controlling cobras and the other snakes exhibited by the Indian fakirs.

Many years before Gautama's time, the brahmas or singers of sacred songs of ancient India formed themselves into a caste or priesthood; and the word "Brahma," from meaning a sacred singer, became the name of the supreme deity; in time, as the nation grew, other gods were taken into the religion. Thus we find in pre-Buddha times the trinity of gods: Brahma, Vishnu, and Siva, with their wives, Sarasvati or learning, Lakshmi or beauty, and Paravati, who was also called Kali, Durga, and Mahadevi, and was practically the goddess of evil. Of these gods Brahma's consort, Sarasvati, the goddess of speech and learning, brought to earth the art of music, and gave to mankind the Vina.

This instrument is still in use and may be called the national instrument of India. It is composed of a cylindrical pipe, often bamboo, about three and a half feet long, at each end of which is fixed a hollow gourd to increase the tone. It is strung lengthwise with seven metal wires held up by nineteen wooden bridges, just as the violin strings are supported by a bridge. The scale of the instrument proceeds in half tones from [F: a,] to [G: b''] The tones are produced by plucking the strings with the fingers (which are covered with a kind of metal thimble), and the instrument is held so that one of the gourds hangs over the left shoulder, just as one would hold a very long-necked banjo.

It is to the Krishna incarnation of Vishnu that the Hindu scale is ascribed. According to the legend, Krishna or Vishnu came to earth and took the form of a shepherd, and the nymphs sang to him in many thousand different keys, of which from twenty-four to thirty-six are known and form the basis of Hindu music. To be sure these keys, being formed by