~: •

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 fII"'::"q) AcAD EMIA DE MUSICA
rAiU!'\' FERMA: 1"1 'A
AV. SAil JERONIMO 162. SAN JUlGEl
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.... HarperSanFrancisco
~ A Division ofHarperCollin sPubliJht'rl
 P L ANE T D R U M
A Cel,bratioll of Pmllssioll alld Rhytiml
Copyright © 1991 by Mickey Harr. All rights reserved. Primed in
the United States of America. No part of this book may be
used or reproduced in any manner whatsoever without
written permission except in the case of brief quotations embodied in
crideal articles and reviews. For information address
HarperCollinsPlib/i'hm, 10 East 5l rd Srreer, N ew York, NY 10022.

D ES IGNED AND PROD U CED AT TR I AD

BY HOWARD JA CO BSEN
ASSOC I ATE ART D IRECTIO N: CARO L HO O V ER

F I R S T EDIT I ON

L I BRAR Y OF C ONGRESS
C ATAL O G I NGd N ,PUBLI C AT I ON DATA
Harr, Mickey.
Planer Drum : a celebration of percussion and rhythm I Mickey Harr
and Fredric Lieberman, with D. A. Sonneborn. - 1st ed.
p. em.
Includes bibliographical references, discography, and index.
ISBN 0,06,25041 4, 2 (cloth) - I SBN 0,06 , 25039 7,9 (pbk1
1. Drum. 2. Music, Origin of. 3. Musical meter and rhythm.
4. Percussion insuumcnts. 5. Percussion music - History and criticism.
THE
6. Folk music - History and criticism. PUBLISHER
I. Lieberman, Fredric. H. Sonneborn, D. A. HI. Tide. WILL ARRANGE
MLI 03 5. H 37 1991 786 .9 - d c2 0 90, 56 463 C IP MN TO PLANT TWO
TREES IN A
CENTRAL
GRATEFUL A CKNOWLEDGM ENT FOR PERM ISSION TO QUOTE FROM AMERICAN RAIN
THE FOUOWING CO PY RIGHTED SOURCES FOREST FOR
Tilt Arl 4 Ncim: A FUlurirt Manijtfle, by Luigi Russolo, rnnslated by EVERY TREE
Robert Filliou. Courtesy of Richard C. Higgim. Tilt Sun Beck, NEEDED TO
Jelaluddin Rumi, rramlaled by Coleman Barks. Reprinted by p<'rmission of MANUFACTURE
Maypop Books. "The Vision ofTailfearher Woman" as told by THE PAPER FOR
William Bineshi Baker, in Thomas Vennum, Jr., Tilt Ojibwa Danu Drum: III Hiflery THIS BOOK .
and CcnJlructicn. Reprinted by p<'rmission of Smithsonian Institution Press.
SEV ERAL STORIES IN PLANET DRUM H AV E BEEN A DAPTED FROM PUBLISHED WORKS
This editionis
"How Universe, thc Suprcmc !king, Makes Rain" and "Morgon,Kan " arc bascd on
thc versions in Joscph Campbell. Hir/cri(al Alias- 4 Wcrld Mythelogy, Vcl. J: Tnt prillted Oil add1ree
Way 4 'h! Anima/ Pewm (Ncw York: Harp<'r & Row, 1983). "Bullroarer Comes to paP" that meelr
thc People" is bascd on an account tcceivcd from an anonymous
sourcc. "Thc Origin of thc Woodcn Drum" is bascd on Hugo Zcmp. Muriqut the American
Dan: 1.4 Musiqut daHl Ia ptllrit (I/a vit fcciaft d'uflt sedtli Iljri(aill (Paris: MOUlon & Co., Natiollai Sta"dard,
and Ecolc Pratique des HaUles Etudes, 1971). "The Human Drum" is
butitllt, Z 39.48
based on Fernando Monrcsinos. Mtmarias alll~:lar hisloriah dt f Puu, Iramlalcd and
edircd by Philip Ainsworth Mcans (London: Hakluyt Society, 1920). Sta"dard.
"Tsar.. Kolokol" is bascd on Edward V. Williams. &/1r 4 RUlJia: Hirtery ami
u(hn%.ry (Princeton, NJ: Princeton UniversilYPress, 1985). "The
Soul of lhe Greal Bell" is based on Uicaruo Hearn. Semt Chin($( CherlS (Ncw
York: Modem Library, 1927). Firs! published: Robens Brothen, 188Z

91 9l 93 94 95 K.P. 10 9 8 7 6 5 4 3 2 1
Contents

PREFACE 6 Shaman's Rartle 130

Sacrifice 134
Possession 138
Origins 8 Carllavai' 140
Planerary Percussion 11
CHAPTER FOUR
The Emergence ofRhyrhm 13
Crearion and Sound 16 Sculptures of Sound 144

Origin Srories 20 Membranophones 147

The Origins of Music 30 Making rhe Drum 152
Early insrrumems 31 Bullroarers 154
Noise and Pandemonium 40 idiophones 156
Bells, Voices of Meral 162
C H APTER TWO
Skulls 170
Rhythms of Work, War,
CHAPTER FIVE
and Play 46

Work 49 Planet Drum 172

Communicacion 52 South and Central America 175

Honarors 55 Europe and Norrh America 178

Early War 56 The Near Easr 188

Modern War 70 Africa 190
Play 74 Asia and Oceania 197
Children 208
CHAPTER THREE
Planer Drum 211
Rhythms of Life BIBLIOGRAPHY 214

and Death 100 DISCOGRAPHY 217

Bacchanal 103
ACKNOWLEDGMENTS 218
Psalms and Revelarions 106
Masked Dance 110 CREDITS 219

The Dance of Dearh 112 INDEX 221

Trance 118 5
Srillness 122
Shaman's Drum 125
 Preface
For forty years, since I was six, percus-
sion has been my ruling passion, first as a
player, then as a collector, and finally as a
student. Ten years ago, hoping to answer
certain guestions I had about my chosen
instrument, the drum, I embarked upon
what I thought would be a simple
research project. Although I had never
been much of a reader of books or a taker
of notes, I eagerly acguired these new
skills, only to discover that the task I'd set
myself was not as simple as I'd thought.
The mystery of the drum was
deeper and more complex than I'd
supposed. My first book, DYfllIlllling at the
Edge oj Magic, revealed some of what I
discovered when I began to delve into
that mystery.
My guests, in which I was aided
by a resourceful tearn of fellow drum
enthusiasts, led me back ro the caves of
the Paleolithic, to that moment when
the rhythmic striking of stick against
stick or stone against srone was perceived
And nO/lillothillg bl/t dYIIlIIs.. . in a new and powerful light, and the
OSCAR HIJUELOS,
art of percussion was born. It took me
THE MAMBO KINGS PLAY
SONGS OF LOVE across the Siberian land bridge and
down into the New World, leading from
the tribes of North America, with their
Pl!Jfltt single and double membrane drums, to
Drum the jungle cultures of Amazonia, where
6
the ratde is king.
Drumming - the rhythmic
manipulation of noise - led me every-
where on the planet.
It introduced me to the lineage of
drummers - my lineage - which is as old
as any other in music. Through my
research I met the frarne drummers of
ancient Sumeria and the Kaluli drum-
mers of present-day Papua New Guinea,
who hear in the sound of their drums the
voices of the dead calling out to the
living. It introduced me to shamans who
used the drum as a trance tool that, like a
horse, carried them out of their bodies to
the World Tree; and to master drummers
of West Africa who specialized in the
ancient possession trance rhythms that
called the ancestor spirits - the Orisha -
down into the bodies of the dancers.
The drum led me back to the
sacred, to ritual, ro the mythic structures
that underlie consciousness.
It consumed ten years of my life,
but I never thought twice about expend_
ing my time and energy in this way. I
was too excited and enriched by rhe
extraordinary information that was
Howing into my life. I wanted to hold
this information in my hands, to play
with it all the time. At first this was
difficult since most of this information
was stored in file folders and notebooks.
But then one day I went out and bought
several dozen four-by-eight-foot sheets of
pegboard, which I arranged along the
walls of the converted cow barn that was
my headquarters during this period of
my life. It took me only a couple of
months to cover both sides with notes
and pictures. I even installed special
lights so I could work on any part of this
expanding archive whenever I wanted.
It was difficult not to personify
this pegboard creature that was now
sharing my life. Perhaps because ofits
sinuous shape I saw it as a kind of snake,
a big Anaconda that lived off of inforrruv
tion. I loved to browse along its length,
snapping on the lights to examine this or
that section. I rarely was sequential in my
perusal; I almost never started at the head
and worked my way to the tail.
But then a day came when the
pegboard snake was no longer sufficient
to the task at hand. Too much informa"
tion was coming in. A friend suggested I
transfer my archive onto Hoppy disks,
and so the Anaconda was dismanded
and transformed into bits and bytes. But
even in this new cybernetic form it
retained a unique personality, becoming a
kind ofinformation tree with endlessly
branching branches. I hired typists to
keep up with the information How and at
night I woUld climb around in the upper
branches, scanning for new and inter"
esting growth.
The snake and the tree. W riring
it down like this I see that the images
have a kind of mythical resonance,
recalling those old, old images of the
World Tree in the Garden of Eden, with
the snake twined around its trunk.
Each way of dealing with this material
had its strengths and weaknesses. The
snake, for example, was perfect for
displaying the pictures of the drum that I
was so feverishly collecting, but it was
less suited to carrying the quotes and
anecdotes, the lengthy origin myths and
anthropological fieldwork - the written
legacy of the drum. For this the computer
and its information tree proved superior,
but unfortunately the technology was not
yet in place that would have allowed me
to bring images into this domain.
With Drumming at the Edge of
Magic and now Planet Drum, my obses"
sion has assumed a third form - the book
- and in many ways it strikes me as the
best. Here are the images that made the
Anaconda come alive those nights when
I wandered its length in the Barn, com"
bined with the tastiest fruits that grew on
my information tree. You can read it
cover to cover, as if you're following a
kind of march beat, or you can find your
own rhythm and dance your own dance
through the images and ideas that you
find on the following pages.
But before you begin, let me
place a few thoughts in the forefront of
your consciousness. It's said in different
places in different ways: In ancient
China, Confucius said that music is
basic to human nature. In Africa today
they say that a village without music is a
dead place. In most Western popular
music, spontaneity has been lost in favor
of preprogrammed offerings. World
music- and the percussive impulse
that drives it - reaches past the need of
the marketplace to sell, into emotional
and spiritual dialogue with older
oral traditions.
What we call world music really
is all the world's music. It's a reRection
of our dreams, our lives, and it represents
every fiber of our beings. It's an aural
soundscape, a language of the deepest
emotions; it's what we sound like as a
people. The excitement that we feel
when we hear it tells us that the door into
the realm of the spirit is opening. It's a
romance of the ear. It's our musical
skeleton key.
Underneath the world's extr~
ordinary musical diversity is another,
deeper realm in which there is no better
or worse, no modern or primitive, no art
music versus folk music, no distinctions
at all, but rather an almost organic
compulsion to translate the emotional fact Prtfatt
7
of being alive into sound, into rhythm,
into something you can dance to.
MICKEY HART
CHAPTER ONE

The loudest sound

in the neighborhood
is heard after light-
ning arches be-
tween clouds and
earth, superheating
and expanding the
air along its length,
a compression or
shock wave that
decays to become
what we call
thunder. Lightning
bridges the gap
between heaven
and earth.
 HE SOUND HAS BEEN CALLED MANY THINGS BY
many cultures. Some call it the seed sound, the One, the pulse at
the heart of the universe. The Hindus call it the Nada Brahma;
we prefer the big bang. n, In the beginning was the noise. n,
One of the few fundamental things we know about our universe
is that everything in it is vibrating, is in motion, has a rhythm.
Every molecule, every atom is dancing its own unique dance, sing'
ing its signature song. What we call sight is just the limited spec,
trum of vibrations that our eyes can perceive; what we call sound
is just the limited spectrum of pulsations that our ears can hear.
n, And this noise begat rhythm and rhythm begat everything else. n, This
is a story about the discovery, somewhere in the mists of time, that
we, the small apelike creature Homo sapiens, could master and
manipulate noise to create our own rhythms, and abour the extra,
ordinary tools we developed to explore this discovery. n, This is a
story about drums and drumming, and about the primal exper,
ience of percussion. You don't simply playa drum, you beat it, you
strike it, you pound it, the vibration, contraction, and expansion of
the membrane giving off a roar that contains an echo of that other
roar, fifteen to twenty billion years ago, when the universe, packed
into an extremely dense area of matter and energy, suddenly
Plantt
exploded. n, And the dance began. n, n, n, n, n, n, n, n, n, n, n,
D,um
10
 Planetary Percussion

A soulld precipitatesair, thmfire, then

waterand earth - and that} Iww the
world becomes. Thewholetmiverse is
includedill thisfirst sound, this vibration,
which thm commits aJ/ thillgs tofragmen'
tation ill thefield of time. In this view,
there is not someoneoutsidewho said,
"Let it happm:'
JOSEPH CAMPBELL

The beginning of
our universe: mys-
terious forces came
together and space,
matter, and time
began, with a vibra-
tion unlike anything
before or since. The
big bang• • birth In
ctt.o. and din, was
but_.

+-- ./ ~
. ,/;,y ~.;f'./' ",/" ,y? ~~.J'
•................ ......•..... .... ...•. .........•. ..... ............ .... ....... , .....• ..... ............ .. .. ... .. ... .. .... .•.. ...... ... .. ... .............. .. "" .... .... ........... ... , .•• .•.••• ;;;,••..:;""1

oIf,l '/' .-1';'1 .#}"

 Plalletary percllssion: throllghollt recorded
geological history, gigallfic lIIeteorties have
crashed iI/to the plollet, IIIhich has a
volcanic explosion
resollolltfreqllency. StYl/ck IWd enollgh, on record, the erup-
the earth vihrates like agOllg. tion of Krakatoa in
1883 In 'ndonesla,
created the lOUdest
sound eVar docu_
mented. Almost
three thousand
mi'es away, on an
island off the east
COast of Africa, a
British nava' officer
ordered his men
to battle stations
after he heard a
roar that sounded
like heavy guns .

. . ..
<jI'~
...• ................
~.tf
b~ .f~
 The Emergence of Rhythm

Early humans no doubt were awed and
terrified by the wild percussive noise of
nature - the volcanoes, the thunderstorms
- and early percussion instruments may
have been a way of approximating and
therefore taming this terrifying sound.
But gender models also may have
contributed to the development of
Illstrullletltallllusic ... begall ill
gel/eral as aperCIIssive act ofthe body:
slappillg the buttocks, the belly, thethighs,
or dappillg the hallds, or stallipillg
the grolmd.
CURT SACHS
petcussion. The gorilla beating on its chest To hone the fine
cutting edges
is an example of body percussion known of a hand axe
to even the smallest child. And what of or other rudi-
me ntary tool
the beaver slapping its tail on the water to requires reo
warn other beavers of danger? Or spiders peated rhyth·
mic move-
that drum on their webs, or termites that ments by the
t oolmaker.
hammer the ground as they march ? If we
examine closely the myths of the origins of
percussion instruments, what stands out is
how rigorously and accurately our ances-
tors observed nature and how playfully
they applied the lessons learned thete.

Australopithecines
were our earliest
ancestors who
walked erect as we
do. They lived
between eight mil-
lion and one and a
half million years
ago. We cannot pin-
point the moment
when music began ,
but evidence sug- ' \
gests that these
hominid s used re-
peated rhythmic
movements to fash-
ion stone tools.

i' ,l'
..~.. i"
.,. .cr:,..'" (}$'
.. ..... • . ...... " ... ... • ....
#". # <f
#'"
.". ~. #'."
"", -Ii
 The British biologist
Sir Julian Huxley
(1887-1975) wrote
of an African trip, "I
remember waking
up at night at camp,
near Lake Edward In
the Belgian Congo,
and hearing a
strange clicking or
ticking sound. A
flashlight revealed
that this was ema 4

natlng from a col 4

umn of termites
which was crossing
the floor of the
tent under cover of
Wi,ell I hear the hllmmillg of the darkness:'

little world amollg the stalks, alld am

near the cO/mtless indescribable forms of
P/Qlltt the lVorms and insects, fhflll feel the
Drum
14
presence of the Almighty, who created liS
ill His own image.
JOHANN WOLFGANG VON GO E T H E
 Creation and Sound

Rhythm and noise. Because we are a part of nature, it

Many of the world's cosmologies is likely that we are entrained with the
associate the beginning (and the end) of larger planetary and universal rhythms
time with loud, percussive noise - the that surround us.
new, the unexpected. Noise is raw sound. Our word religion comes from
Rhythm is anything that repeats the Latin and means "to bind together:'
itself in time: the moon cycling around the A successful religion is one that binds
earth, the sap rising in the spring, the together all the fundamental rhythms that
pulsing of arteries in the body. each of us experiences: the personal
Science knows one big thing rhythm of the human body, the larger In Chinese myth.
about rhythm, something it calls the law social rhythm of the family, tribe, or ology, P'an-ku fig-
ures as the "great
of entrainment. Discovered by the Dutch nation, and the enveloping cosmic architect" of the
scientist Christian Huygens in 1665, the universe. Pounding
rhythms of the planet and universe. If
and chiseling upon
law of entrainment holds that if two a religion "works:' its followers are the cliffs of Chaos,
he sculpted the
rhythms are nearly the same and their rewarded by a new dimension of rhythm stars and planets,
sources are in close proximity, they will and time - the sacred. a labor that took
eighteen thousand
always lock up, fall into synchrony, years. When he
entrain. Why! The best theory is that vanished, suffering
",--_ _ _ _~began on earth.
nature is efficient and it takes less energy
to pulse together than in opposition.

Creatioll ill Hilldflisl1l depwds 011 the five
elel1lfllts of ether, air,fire, water, earth.
The first is ether, alld ether is soulld-
the original sound, the nada. Out of the
vibratiolls of nada comes theulliverse.
That's the begillllillg of the ulliverse - it
Alld soulld is also used to cOIljure
up adeity. III the begillllillg was the Word,
the voice. When you are SUllfIIlOllillg a
deity, you prolloullce the seed syllable of
the holy lIame.
JOSEPH CAMPBELL

begills with soulld, vibratiolls.

,;-
;I
.'"
()
......... ............
.!If
,
,,>'3~,"
 Alld Oflt Of the throne proceeded
lightllillgs alld thullderillgs and voices:
!;E::::;;:';;''''i'~t~hi sEth iop ian
Coptic illumination alld there were sevelilamps offire bUYllilig
of the Bible's Reve-
lation of Saint John before the throlle, which are the seven
the Divine, the
drummers in the
Spirits of God.
heavens sound the REVELAT I ON 4:5
end of the world,
playing kettledrums
Plantl with curved sticks.

I.
Drum
[Anonymous Ethi o-
pian artist, eig ht-
eenth century]

.If
;s!'J,J-" ~. <>
~~p....".Jf' ,. (:0." ",'"-:&""
:j-0.b"' .'i:.~~ #,.J' ~.,.
qO ~d'...l; q,.J>...1/,9- " .....,~p
... + . . . . . .. . . . . .. . .. . . .. . . . .. . . .. .... + . . ..... .. ... .. .. ... . .. .. .. ... . . . ..... .... .. + .
##
~.~
~ ~
..##~
,"
#.
v
III the beginning /Vas the Word, and
the Word /Vas with God, and the Word
/Vas God.
J OHN1 : 1

The spirit of Logos

(Greek for "word")
is surrounded by
angels in a heavenly
orchestra celebrat-
ing the creation.
One angel plays two
small kettledrums
while another rings
a bell. (The Logos
Seate d on the Rain-
bow, anonym o us
French artist , ea rly
fourteenth century]

r.q'ntnW.~ ~
,e bt.lUOlllt,.:l.Ut ,WUll
4p~ llo&IIC1I1UrI;jUle
ClOlf~6tUmll1l1l1'Ailli
mo. l>C'm~ ~a"':tln rc .
.s.qut ll\n.~MI!1IIjI
lKl.rut> It !labl~·liiu1C
.11\011& m<llt' .uf",lIu·

Ori,gim
1•

...... ... ... ........... . .....•

..of"C/
 •
Origin Stories
he Buriat of Irkutsk (Siberia) ... declare that
T Morgon-Kara, their first shaman, was so compe-
tent that he could bring back souls from the dead. And
so the Lord of the Dead complained to the High God
of Heaven, and God decided to pose the shaman a test.
He got possession of the soul of a certain man and
slipped it into a bottle, covering the opening with the
ball of his thumb. The man grew ill, and his relatives
sent for Morgon-Kara.

n, The shaman looked ev-

erywhere for the miss-

MORGON~
ing soul. He searched
the forest, the waters,

KAM
SiBERIA ....... BURIAT PEOPLE
the mountain gorges,
the land of the dead,
and at last mounted, sit-
ting on his drum, to the
world above, where again he was forced to search for
a long time. ~ Presently he observed that the High
God of Heaven was keeping a bottle covered with the
ball of his thumb and, studying the circumstance, per-
ceived that inside the bottle was the very soul he had
come to find. The wily shaman changed himself into
a wasp. He Rew at God and gave him such a hot sting
on the forehead than the thumb jerked from the open-
Mythology is !Vhat happened, is ing and the captive got away. ~ Then the next thing
happening and !Vill happen to tiS all, God knew, there was this shaman, Morgon-Kara, sit-
from the very beginning tlntil the ting on his drum again, and going down to earth with
end ifhuman life tlpon the earth. the recovered soul. The Right in this case, however,
was not entirely successful. Becoming terribly angry,
BARBARA TUCHMAN
God immediately diminished the power ofthe shaman
Plantt
forevet by splitting his drum in (Wo. ~ And so that
D",m is why from that day to this, shaman drums, which
2.
originally were fitted with (wo heads of skin, have had
only one.
 ja, •
Off
one time, when Big
Raven was living HOW where they put the drum
and the stick:' "- He
on earth, it rained for so
long that his underground UNIVERSE, made a sleeping spell, and
Universe and his wife fell
house filled with water,
and everything he owned THE into a deep sleep. Then
Big Raven took the drum
got wet and began to rot.
"- "Universe must be do, SUPREME and the drumstick from
their secret hiding places
ing something up there:'
Big Raven said to his eldest BEING, and roasrcd them over rhe
fire until both were dry
son, Ememqut. "Let's Ry
up and see:' "- They NIAKES and crisp. Then he re,
turned them and broke the
went outside, put on their
raven coats and Rew to
Universe's place. fu they
MIN SIBERIA ...... KORYAK PEOPl.E
sleeping spell. Immediate,
Iy Universe picked up his
drum and began to beat on
got near, they could hear it, only this time the more
the sound of drumming. It was Universe who was drum, he beat it the finer the weather became, until there wasn't a
ming, with his wife, Rain Woman, at his side. Universe had cloud in the sky. Then Universe and his wife went to bed.
cut off Rain Woman's vulva and hung it on his drum. He "- "Now:' Big Raven said to Ememqut, "let us really go
was using his own penis as a drumstick. Whenever he beat home:' "- The wonderful fine weather lasted for days, but
the drum, water poured from Rain Woman's vulva like rain. the hunting was terrible. No one had any luck hunting rein,
"- When Universe saw Big Raven, he quickly hid the drum deer or sea mammals. Everyone began to starve because
and the rain stopped. "- "The rain has stopped:' Big Raven Universe was asleep. "- ''I'm going up there to see what's
said to Ememqur. "We can leave:' "- fu soon as they left, going on:' Big Raven said. He put on his raven coat and Rew
the drumming began again and the rain started to fall. So Big up to Universe's place to talk with him. "We're having very
Raven and his son turned right around and went back, and good weather:' he told Universe, "but everybody's starving.
as soon as Universe saw them he again hid the drum and the We can't find any game:' "- "That's because I'm not look,
rain stopped. This time Big Raven whispered to his son, ing after my children:' Universe replied. "Go back home.
"We'll pretend to go, but instead we'll hide and see what they From now on you'll have good hunting:' "- So Big Raven
are doing:' "- Big Raven and his son disguised themselves left and when his sons next went hunting they found sea
as two reindeer hairs and lay on the Roor and watched as mammals and wild reindeer. And when Big Raven him,
Universe asked his wife for the drum which she took from self pulled from the ground the post to which his dogs were
the secret hiding place. fu soon as Universe began to play, it tied, out came a whole herd of reindeer. Many of these he sac, o,i,gins
23
began to rain as hard as before. "- Big Raven said to rificed to Universe, and after thar he had only good luck with
Ememqut, ''I'm going to tn.lke them fall asleep. You watch his hunting.

• •
/
I
,..-
• •
od created the wooden drum. It belonged to a large
G genie with one eye, one arm, and one leg, whose viI,
lage was in a termite hill. This genie chopped down trees and
cleared the brush, and in the center of this open space he set
the wooden drum. " One day an orphan left his village and
went into the bush. Arriving at the genie's clearing he spot,
ted the wooden drum. Two sticks were lying on it. The boy
took the sticks and began to beat the wooden drum. " A
genie stuck his head out of the termite mound and said,
"Who told you to beat the wooden drum?" " "No one told
me;' answered the boy. " "Since you have already starred to
beat the drum;' said the genic, "continue so that I may dance.
If I dance and my feet get tired, you can kill me. But if my
feet don't tire and your
hands do, then I'll kill
brother. "What! Is this the head of my brother?" he said.
''And what's this wooden thing on the ground with the two
pretty sticks on it?" The younger brother picked up the sticks
and began to beat on the drum. " Immediately a genie ap'
peared and said, "Go abead, beat on tbat drum wbile I
dance. Bur if your hands get tired before my feet do, I will kill
you:' " The young man beat the drum; the genie danced
and danced. " Bur he did something his brother didn't do.
Whenever rhe genie danced around to the otber side of the ter,
mite mound, the boy went with him. They circled for a long
time. Finally the genic said, "My foot is tired. I'm going to
dance with my sboulder:' " The genie danced with his
shoulder until tbat got tired. Then he danced with bis neck.
When that got rired he
shook his arm. Then

~
you:' " The young he said, "This is the
boy beat on the wood, day when it will hap'
en drum. The genie
danced. When he got THE pen:' " "When
what will happen?"
tired he went on the
other side of the ter, ORIGIN asked the boy. " "I
am tired all over, what
mite mound and a
fresh genie popped our OF more can I say?" said
the genic. " Then
and resumed dancing.
Eventually the boy THE the boy said, "The day
has arrived for me to
tired and the genie
killed him. " Now WOODEN avenge the dearh of my
older brother, whose
this boy, though an 0r-
phan, had a younger
brother. For three days
DRUM AFRiCA ..... DAN PEOPLE
head lies here in the
dirt. I don't fear you:'
" He killed the ge,
the brother waited in rue. Then he went
the village for his old, around ro rhe orher
er brother to return. When he didn't, the younger boy decid, side of the termite hill and set it on fire. All the genies died.
ed to go look for him. When he arrived at the genie's clearing, " Picking up the wooden drum, the young man returned
he saw rhe wooden drum and beside it the severed bead ofbis to his village .

• •
 • •
t is told that me Great Ancestors hid the gift of their voices
I inside the wood oftrees, so that men and women could call
them whenever they needed to. But the first men and women
were ignorant of this one last gift; they knew nothing about
it. ~ Now it happened that the first men and women were
ja,
BULLROARER
COMES
TO
THE
PEOPLE AUSTRALIA
undergoing a terrible famine. Food and even water were
scarce. One day an old woman was out cutting firewood
when suddenly the splinters from the tree she was felling be-
gan to fly around her in the ait, crying, "Bigu-bigu-bigu_
bigu:' ~ It frightened the old woman very much. When she
told her husband what had happened he said that whatever
the thing was it would come to her that night in a dream.
And sure enough, it did. That night, as the old woman slept,
one of the wood chips came to het and said:
~ "Mothet, listen to me. Bigu is my name. That's my
Pilm!t name, Bigu! Now I want you to go into the bush and cut a
Drum long skin from a tree and make a rope. Then I want you to
2.
make a hole close to my nose, and fasten the rope there. Then,
mother, plant yams. Then I want you to sling me over your
head. The noise I make will make your garden grow. It will
make the wind and the rain come. It will wake up the
ground:' ~ Well, the old woman did as Bigu commanded.
She found a tree, she made a rope, she hitched it to the splin-
ter, she planted yams, and then she began to swing Bigu over
her head. ~ It sounded like a great monster had
come to eat them all up. The ground moved. The
first people ran and hid under the bushes, screaming,
"Dhuramoolan has come to eat us:' ~ The old
woman called to the people, "Come back! You feel
the rain fa1l1 This water is for us to drink. You see
the yams groW1 Now we have food!" ~ The peo-
ple gathered around her, their eyes wide with fear
and wonder. Everywhere the yams were growing
and the rain was falling. Oh, the people were hap-
py. ~ But not the husband of the old woman.
Angrily he snatched the bulltoarer from his wife and
killed her. Then he painted himself with white clay
as ifhe were about to kill a sttong enemy. He picked
up his spear and called the men to him and said, ''All
you men, this Bigu gives us power. No longer will
women and children be allowed to see it. Only men. Not
boys, not girls, not women. This magic is too strong. If any
man tells the women and children about this, I will kill him:'
~ The man, who was now the chief, swung the bullroaret.
The people were frightened by the tremendous noise. Some
ran and hid under trees or in watet holes. Then the chief
called the boys who were old enough to be husbands and
men. He put them in a big hole, saying they would be eaten
by Dhuramoolan. He made their mothers and the lit de chil_
dren lie next to the hole on some brush. fu the bullroarer
howled above them, the mothers clung tight to the belts of
their sons. But not tight enough. Gtadually each of me boys
pulled away from their mamers, and was not seen again for
a long long time. ~ When mey did rerum, they were men.
•
•
H ere is the story of the beginning of the
ceremonial powwow drum. It was
the Indians heard the sound of the drum,
they put down their arms, stood still, and
the first time when the white soldiers mas, stopped the killing, and to this day white
sacred the Indians when this Sioux woman people are always wanting to sec a pow,
gave four sons of hers to fight for her people. wow. "" This powwow drum is called
But she lost her four sons in this massacre in English "Sioux drum;' in Ojibwa
and ran away afier she knew her
people were losing the war. The
soldiers were afier her but she ran n,
into a lake.... She went in the
water and hid under the lily
pads. While she was there, the
THE
Great Spirit came and spoke to
VISION
her and told her, "There is only
one thing for you to do:' "" It
took four days to tell her. It was
OF
windy and rhe wind Hipped the
lily pads so she could breathe
T!1ILFEATHER
and look to see if anyone was
around. No - the sound was all
WOMAN NORTH AMERiCA ..... SIOUX PEOPLE
that she made out, but from it
she remembered all the Great
Spirit told her. On the fourth day at noon bwaG/lidewe'igall. It was put here on earth be,
she came out and went to her people to see fore peace terms were made with the whites.
what was left from the war. ... The Great After the whites saw what the Indians were
Spirit told her what to do: "Tell your people, doing, how they were having a good time
if there are any left [and he told her there and had no time to fight, the white man
wereJ, you tell your people to make a drum didn't fight. After all this took place the
and tell them what I told you:' The Great whites made peace terms with the Indians.
Spirit taught her also the songs she knew So the Indians kept on the powwow. It's be,
and she told the men folks how to sing the cause the Sioux woman lost her four sons
songs. "It will be the only way you are go, in the war that the Great Spirit came upon
ing to stop the soldiers from killing your her and told her to make the drum to show
people:' "" So her people did whar she said, that the Indians had power too, which they
and when the soldiers who were massacring keep secret.

• •
 The Origins of Music
Numerous theories try to explain the
origin of music. Some have us learning to
sing by mimicking the mating calls of
birds and animals, while others suggest
that music grew out of our discovery rhat
sounds of a single pitch carry a long way,
thus making group communication much
easier. At some point in our development,
early humans began accompanying these
songs with simple instruments, concus,..
sion sticks and beaters, on which they
produced that special kind of vibration,
that sharp shock of percussive noise.
As toolmakers we were busy
scraping, striking, rubbing, shaking,
swinging - verbs that perfectly describe
the class of percussion instruments known
as idiophones. The bodily rhythms and
the percussive payoff are similar; only the
context separates the striking of two flints
to make a spearhead from the whacking of
two sticks to make a rhythm - sound tools.
P!m.t,
Drum
3.
. . . . . . . . . . . ••. , •.••.••••••••••.
Ethnomusicologist John Blacking Economist Karl Bucher argued
believed there was a connection between that rhythm developed from rhe need to
our rapid evolution as a species and our coordinate large groups of people working
ability to recognize, externalize, and together at lifting, breaking, dragging
control rhythms. Fat Blacking, the tool things - requiring maximum group effort
record - all those delicately chipped exerted at the same moment.
arrowheads and choppers - was a dra, Psychologist Karl Stumpf sug'
matic illustration of our battle to master gested rhat the idea of singing on clear
the subtle bodily rhythms that the creation pitches perhaps developed because loud
of any advanced rechnology requires. singing has much greater carrying power
Blacking also believed that music rhan speech or shouts.
was a special case. It wasn't just another Philosopher Herbert Spencer
example of our ability to master rhythm; it supported rhe idea rhar people tend ro
was the mystery of rhythm itself. Music exaggerate the expressive vocalizations in
was a mirror that reflected a culture's their language when in highly emotional
deepest social and biological rhythms, states, leading to wails or shouts that could
an externalization of the pulses that have become stylized and thus musical.
remained hidden benearh rhe busyness Anthropologist Siegfried Nadel
of daily life. proposed thar music developed as an
Philosopher Suzanne Langer has enhanced mode of communication with
speculated that music, language, and supernatural powers.
dance originated together in the very
earliest rituals - people gathering together,
dancing, and singing.
Naturalist Charles Darwin
linked rhe origin of music wirh sex: music
When struck, the
evolved from mating calls of birds stalactites In the
caves of Dordo9ne
and animals. sound like gongs or
bells. More than ten
thousand years ago
the caves were holy
to the people who
lived nearby, as the
extraordinary paint-
Ings found inside
them demonstrate.
(Pech-Merle. France)
. . . . • • , •...••.•••. " .•..•• . .•.••••.••••••• ........... • .•.• •.••••• .• • .• q ••••• • •••• •• ••••• .

Early Instruments
The rhythmic manipulation of noise
is one of our earliest accomplishments,
predating by millennia the discovery of
the wheel and the plow. Starting with
concussion sticks, hollow logs, sounding
bows, and eventually skin drums, we
have carried this knowledge with us on
our long migrations.
We find percussion everywhere on
this planet, yet nowhere is it exactly the
same. Each culture brought its own
-
This Neolithic po ~
tery dr;um was un-
earthed in Germany.
It may have been
modeled on an
earlier wooden
genius, its own materials, to the task of drum. (G ermany,'
ca. 2500B.c.1 .
rhythm making. Traveling through time
and across space, we can chart these
transformations as the rhythm slowly
came forth from the human body and
took up residence in stone, metal, skin,
wood, and bone.
The importance of this transfor,
mation is underscored by the instruments
themselves. Even today, hundreds of years
afier many of them were carefully crafted,
they still manage to convey the under,
standing that they were both functional
musical instruments and sacred tools.

A contemporary
Australian aborigine
(right) plays con-
cussion or clapper
sticks. among the
most ancient of in-
struments, while his •
compa nion creates
a drone and m elody
on the didjeridu. ments may have
(Arnhem Land, been gathered. not
Australia, twentieth made: found ob-
century]'" jects. Among the
Kabre of West Afri-
ca today, young
boys play rocks to
mark important
times in the agri-
cultural cycle.
(Togo, 19605)

OriginJ
31

,#'
.
... ..... . ...
~
 These bronze
crotales (small
cymbals) were
cast shortly after
the death of
Tutankhamen. Ear-
lier Egyptians
made crotales from
seashells. [Egypt,
1320-1200 B.C.)

A woman of Ur
(north of Kuwait in
today's Iraq) plays a
tambour (frame
drum), illustrating
Durillg the thol/sallds ojyears the talll'
what some scholars bot/rille is represEllted ill Egyptiall history it is
consider the close
relationship be- a/ways ill the hallds ojacc/aimillg alld rejoicillg
tween the mother
goddess and per- 1V0meli participatillg ill sacred dallces alld
cussion. (Iraq, ca.
2000-1900 B.C.) processiolls or playillg illfrOIl! ojgoddesses.
LAYNE REDMOND

......oi.....~..-·~ln~t~h:IS wall painting, strum or pluck upon

several Egyptian a long-necked lute
women rattle dried and a lyre in this
plants, another festive ensemble.
claps her hands, one [Tomb of Rechmere,
. ...~"+
plays a recta ngu- Egypt, ca. 1567-
,<I-l:-'.S' lar frame drum. 1085 B.C. )
~,~~
....• "U' . . ...
while two women
Two musicia ns play
an e normous frame
drum w hile another
blows a ram's horn.
(Mesopota mia,
ca. 1000 B.C. )

Ela borate ly
carve d from
wood or ivory
in the shape of
human arms and
hands, Egyptian
cl a ppe rs were ofte n
associated with the
w o rship of Isi s, the
g reat mother god-
dess . Surviving
p ai nting and pot-
tery, dating as early
as t he fourth millen-
nium a.c., depicts
the use of clappers
in fertility and
harvest rites.

In anci e nt Egypt,
a rattle of wood
or m e tal (ca lle d
a s istrum) was
used to ward off
evil spirits and
The sacred sistrum attra ct the atten -
is most ofte n played tion of beneficent
by women in ritual forces. (Egypt,
d evotion to the 2133-730 B.C. ) ~
mothe r goddess
ca ll ed Isis, Hathor,
Bast , or Astarte.
[Egypt, 2133-
730 B.C. )
Dancing figures
with drums hunt
and perform ritual
sacrifice. Dozens of
cliff paintings such
as these illustrate
the daily lives of
these makers of
bronze drums who
lived ir:t south cen-
tral China. {Chin a,
475 B.C. - 220 A.D. ]

This rubbing of a
tomb wall shows an
ancient measuring
device. As the
chariot's wheels
turned, the mechan-
ical drummers
struck the barrel
drum, measuring
the distance trav-
eled by the number
of beats. {Ch ina,
128 A.D.]

.,,/
,{"'
+ ..
 This cl ay to mb
figurine depicts a
sing er/storyteller
accomp anying him-
self on a sma ll drum.
Simil ar solo drum-
Mllsic rises from the Jlllman heart. ming and singing

Whfll the elllotiollS are touched, they are 1~~~~~

,~
continues to the
present day in China.
[C hi na, 25-200 A.D.,
expressed ill SOlillds, and when the sOllnds
take defillite forllls, we have lIIusic.
Therefore the lIIusic ofapeaceflll alld

These glazed earth-

enware drummers
represent the e n-
tourage of a nobl e,
and were buri ed
with him to serve in
death. The drums
wou ld aid the
nobl e 's spirit gu ard -
ians in battles of the
afterlife _Burying
clay models substi-
tuted for an earli er
practice of bury-
ing the servants
themse lves. [Chi na,
ca. 600 A.D .]

prosperous colilitry is quiet alld JOYOIIS,

alld the govemlllelit is orderly; the IIIl1sic
oj acolilltry ill tllrmoil shows dissatisfac,
tioll aIId allger, alld the goveYlllllfllt is
chaotic; alld the music ojadestroyed
cOlilltry sJ/Ows sorrow alld remembrallce
oj the past, alld the people aredistressed.
Thlls we see 1II/ISic alld goveYllmellt are
directly cOlllleeted with aile allother.
CH I NESE CLASS IC

Origins
35
 fA bronz e statuett
ound in N orth Af e.
ca d epict n·
d sawom
ancing with an
tales'In h erhand ero-
ITun is ia, ca. 1008~.J

In
E th is med 'leval
uropean
the R woodcut
oman hO I '
phe r B P I 050-
Plantt oethius I
a monoch d pays
Drum . or (a
~lngl e -str i nged
36
Instrument)
f ro m B . (Det ai l
M u . oeth ius's D e
S Ic a, Ca nte rb
Eng la nd , 1150 A.~.?'
o·
,.' i§'
.~
... + .~- . ... . +

..t.,....
</'
 This bottl e is a
one-ma n ba nd w ith
A singing woman panpipes, drum,
shakes a gourd and some s ort of ea r
rattle . Voluptuous trumpet coming
feminine imagery from the le ft side
found in the New of his hea d. Th e
World may be f igure 's costum e is
ed in the a ncient cove red with pan-
mother goddess pipe design s, which
traditions of the are often seen in the
Old World. (Mexi co, art of the pe riod.
300-1000 A.D. ] {Per u. 100 A.D . I

A circle of dancers
with drummer in the
center is frozen in
clay. [Nayarit peo ple.
Mexico , 20 0 B.C. -
400 A.D.]

A tortoiseshell
makes a fine per-
cussion instrument;
its hollow body
resonates when the
e lastic underbelly is
struck. The notched
surface may also be
scra ped. (Za potec
peo pl e. Mexico.
600 A.D.]

These two cl ay
figures of drumm e r
and acrobat were
found togeth e r at
an archeologic a l
site. {Mexico.
600-1 000 A.D. ]
Origi/ls
37

•
.
~
.• ............ • ..
...fJQ." <P
......
 .~ ,.'
•
.. •
s crap e rs are among
the old e st instru-
ments in both th e
Old World and the
New. (Proba bly
Azte c, Mexico,
co. 1350-1521 A.D.]

Tw o dancin g f igures
eac h hold a ratt le
in on e ha nd and a T ONE-MAGIC storm gods commll"icates to primi"
f eath ered staff or live peoples the arrival ojaJear-
d a nce wa nd in t h e
The /IIusic ofprimitive some mallifestation ojsuperhuman
o t he r. They a pp ear
t o b e conducting a societies is Hot tIIusic ill our power. TI,ecries ojanima/s eaclt
l

ritua l: one h a s sl'IIse ofthe term; it is tone~ species (or ((killr) Itaving its OWII
donn ed an a ni mal magic .... The elemental forces of clwracleristic cry. make known lite
ma sk. The fig ure
ojllatllre (persollified as spirils)- al/imais presf'llu alld vitaJmood.
next t o t hem, a com-
p osite of f ish and mId ill gmeral whafmfr affects the These sOllnds do fwt just IJappf'll;
m a mm a l, is a lmos t process of life, growth, alld the through tI,em thl' mli/ies producing
c e rta inly s upe rn at- slIstainment ofthe allimal species tltem are colt/mill/icating witll
ura l. The pie rce d
sllarillg Jlltmall territory - have to other livillg beil/gs ill Ih, lij,jield.
gou rd rattles a re
virtu a lly id e nt ica l be dealt with, placaled, or made lise The sOlmdsfrightetl and warn;
w it h rattles use d oj throllgh ",agic. Magical forms oj they are sumlllons to collective
tod ay by m a ny (Ol1JllwflicatioJl are made possible actillily. R'spalldillg orfailillJ 10
Sout hwe st Indi an
by agreat variety ofSOl/lids. Th, respond to these communications
t ribes, including th e
Pue blo, Navajo, a nd thu/Jderi/Jg, demmlai voice oj ojtf'll mealls thedifforetlCf betwef'll
Pia/It t Hopi. [New Mexico, death or SlITI';val.
Dfllm 1000-1150 A.D.] DAN E RUDHYAR
38

"
,b
 A pottery fragment,
attributed to the
Hohokam, a people
who live d in the
area now known as
Arizona, shows
several dancers with
larg e gourd rattles
and le g rattles.
[700- 1200 A. D.[

A seated
priest plays a
jaguar-skin covered
huehuetl for Xochi-
pilli, the rattle-
carrying Aztec
god of dance and
festival. [Mexico, six-
teenth century A.D.]

of a coyote with
ivory teeth. In Aztec
myth, the coyote
was re lated to the
moon and stars.
[Aztec people.
Mexico, ca. 1500 A.D.]

8'
.i'("
.>;•
~o •
,0
e-l$'.o;.,,<J ~ ..J>
I(~~..~lt' ~..v.<rft
.. .. .. .. .. .. ..... . .. + .

~}t
.
. ..

.' '
....... .. ... ......... ... .

-'
Noise and Pandemonium
Rhythm and noise - there isn't a culture
on the planet that hasn't reached some
accommodation with these two elemental
forces. Some cultures arc ecstatically
rhythmic and percussive; others are almost
the opposite, preferring subdued rhythms
and sweet melody. In C hina during
Confucian times, music was thought to
be a direct reAection of the people's spirit.
Noisy, ribald music signified an unruly
government, frowned upon in a culture
that valued calmness and serenity.
A similar antipathy for ecstatic
rhythm and percussive noise characterized
the C hristian Middle A ges. Sacred music A delight in the complex rhyth-
was vocal music; in many places insrru . . mic possibilities of noise did not return
mental and dance music were forbidden. to the C hristian West until the late nine-
O utside of the military, where the drum teenth century, when in the New World
played an important role in communica- the music of the recently freed West Afri-
cion, drumming was seen as an aberration can slaves began to mutate into jazz, blues ,
that signaled the presence of Satan, not rhythm and blues, and rock and roll.
godly grace. So strong was this bias that
even afier secular music achieved glorious
expression in the orchestral works of --~
Bach and Mozart, the drum was scarcely
to be found in the orchestra. And when it
did manage to gain a musical foothold in
the nineteenth century, it was relegated to
the rare flourish or thunderclap.
A vision of hell as
din and chaos. The
instruments intend·
ed to delight and
please the ear are
turned through
Hieronymus Bosch's
diabolical artistic
imagination into
instruments of tor-
ture. Music invades
these people. At
lower right (and
inset), one of Satan's
demons batters a
field drum, tortur-
ing an imprison ed
sinner. [D et ail s from
Garden of Earthly
De lights, N ether-
lands,1510- 15151
 III illformatioll theory, sigllal is
the part ofamessage that carries
meallillg, alld lIoise is the part
that carries I/O sigllal. III other
words, liaise equals 1I0'mlse or
1I0llSCl/Sf Bllt today's sigllalwill
beleme, throlrgh the law of
rntrOpy (that says that ever)',
thilt.g is slowillg dowlI), tOI/I<'r,
rOIl'l liaise, alld, vice versa,
tod'1Y's liaise will SOOIl be
Clyoyed as tall/arrows sigl/al.
FREDRIC LIEBERMAN

Originl

"
Demons and angels blaring. {Detail of
struggl e for the The Last Judg-
possession of souls, ment, by Stefan
accompanied by Lochner, Germany,
nakers (small kettle- ca. 1435-14401
drums) boom ing
and long trumpets
 The everyday din of
the London streets
is a nightmare to
the man who is
trying to practice
his violin. (The
Enraged Musician ,
by Wil li am Hogarth.
England, 1741J

Let's walk together throllgh agreat

1II0dern capital, with the ear 1II0re attell'
tive thall the eye, and we will vary the
A smoking pistol introduced into the
cools; one musician W este rn orchestra
pleasllres ojaliI' sensibilities by distin'
prepares to fire a in the late nine-
cannon while an- teenth century.
gllishing alnol(g the gllrgli/(gs oj/vater, air,
other kn eels. ready They complained and gas inside lIIetallic pipes, the rtIl11blil(g
to bash a large that it was too raw,
m etal wash bucket. too noi sy, ugly, un- alld tmttlil(gs oj el(gines beating with
Many liste ners mann ere d. [Musique
thought mu sical pyrotechnique, obviolls allimal spirits, the risit(g and
pyrotechnics served Charivarique et
noi se rather than Diabolique, by
fallil(g ojpistons, the stridency oj mechaw
b ea uty, and did not Honore Daumier. ical saws, the10lldjlllllpil(g oj trolleys on
like it when an ex- France, 1838J l'
pande d percussion their rails, the S/Iappil(g oJwhips, the
ense mbl e was
shippit(g oj}lags. 1M> will have filii illlag,
inil(g aliI' orchestration ojdepartlllent
stores'slidit(g doors, the hllbbllb oJthe
crowds, the differwt roars oj railroad
stations, il'ollfalilldries, textile lIIills,
Plall(t
Drum printil(g hOllses, power plants, and mb,
42
ways. Alld we III list 1I0tforget the very
new noises oJlllodem warfare.
LU I GI RUSSO L O
) I SE
ise (n:HZ). sb. Form s: 3- 7 noys t ... 6 noys, 5- 6
res. Sc. noyis, 6 noyse: .. nois. 6 noiz, j - noise.
,0 .. nouse, nowse, 5 nose. ( a. F . lI oi u ( 11th
I t .; O F. also noJ'u, IIOU) _ I' ro\', ' W),IO, 1IOla,
IJa, o f uncerta in oriJ:ill : L . ' W/Htll and /loxia
'C been proposed. but th .. se nse of the word is
.i nsl both suggestions. )
• a. Loud outcry, clamour. or s ho Ul 1nlo:: d in or
t urban ..1' made b y one or more persons.
"II,. anti ", h~ . "'n"'~ r.~.1 '" .h" l,huM' 10 "''''_Imu,,,
I)' tift, ) .. ""iu: cr, •.,ns" Il,
1225 A n( , ..1t R 6() ~'" " . tch" l><"utlJa'r "'''''' ''''' 'e he
•,,610 l ei" n h'Hupr, " r n ~ fle ll .. ",,,.n. ,.1
h .. drorr ...... O"
c. Il97 It. ( ;1,'" ,', (Rull.) II lb, ()f '"m'pn & ..( ,,.bm.
""a'm' mad" '''' •• So 11' ''1 no)"" I'~' cr'~"" rm"n ,.1
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no; ... & e. ) O ( I"" lI .e,,,,,. 1'~'
I.n n.!·. 1 ' ) 10 Rob, ("rry/, '74 ti l"", ,,, .). II. w.n ( rt "
m.k. nOl •. II •• " ", 1'~ ' .( h,,"J~ ~n. d,)'~ ~. , c .l '6110
"bl:.~"i!~i: ~t \~~~~ich,"·.~"~:·1 ~~~;;'~'~"~"(/:;fI 'il
T he} k U. an h"". on ()" • ~nd v),d .nd m.d ~ n
..... . houl':h .hq had 10.10.)' (" •• h. (!e . ' 411 , (; .. uns
II" y \". : J Of Ih. no)" . , h., ..,,, • ..1,..1 ' 1'I IOnll' ,ht h"h.n
,d,...".d)·nll ,n ,h. )" I." • . " 15JJ 1.1>. nt_ MSI.M_. I/~ ,,,. 10K.
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p .~n)m . .... "hou,d )d h, .. u . '5110 5 " .. ,,~. CU "" f;" . III .
I Whu '. ,h .. II ,h • ..lOot.}' ~ (.p •• n ,10 .. " 0,.. 1 . 6ll
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:...m,(;l; '~~' Il~~~~~ T~~~i~~ R~,j~":~~:: ~~ ~·,··r.~~~i,'i
f <1a K h .. a·do"n . of I'" ,e"'l'l .. ,," h 1("" ""I ' " ."d .""n • J
,..I I •• gj;:.d nOli •• nd ,,""h 01 ,h."u ."..1 ,"",d., ...
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• DI<~ "o:.... s .\fD" . Ch,,: . n,·. I ""h )'u,,'d hold ~." ",
;.r;T ol!!~. ~~~~.;::~~ lI~i: ,,~:":::',d~ofY:'!. ~ ,:~,.~\;~:;
.....,,1 f •••• 1our..
b. witlroul IIoi&e. in a quiel m an ner; wi l hout
: display. privalel)·. Obs.
:~ ~~tl!~I.C:;!;~ L.::1!~'h',~IL:,:Wo~~'6onD:~ ., I,l:'
d(l"~'. cQ ..... ,qb. Sh .. "0.. 101 bt b .. II. d ""h",,, ."}
'peo< ""}"tr. , 6' 4 R .. t.'UI.I/", II'~"J .. soli Aflr' 'h"
• Ezrch,a h.d ' UI. an d lpend,nl( ""h"". nu) ... ,h.,
"'on "h,eh God h~d mad. unto h .. l,f. , 661 J D .. , II'
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,d"}· .. b", ""ho.. , an~ no)M'
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Ohs.
tS4 c~uo,., FI>IiI" DI tJ;'DP II ~" ~ 8 0(,) '"~ " h'I'r>r .h
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, :-.1(".. '0 hlu. nO)k " .. h. nu,ho" " " .nl(.·I. ll('·
o P." "",,~ . :~ H I ' :-.IU )·... ('I). nll."""II,
· t a. Co mmon talk. rum o ur, re pon ; :,lso, el'il
,on, slander. scandal. Obs.
~ 97 K. G I.O' ,.. ( 11,,11.) 6lHJ 11 0 I.·, ~ •• " . I' .. .. . """, '" I'"
nin!:". 1.1< AI . " f,·,I<'>! " · on " ."' •••.. '''" ••. ,'m" , . h.,,·
oQ(J R" .... R"It J'n' '1'.. " ". " 1011 " ',11<"''''''''''. T h. , tho
fO.o fft IS RO. And , h,"d' '''HI,. "r .. , II" , 14z61'1>1/,'"
'~};h~' 7:~~:~~'r~ :h',~I:.~~.~ '1"~"6':'i~:'J. 'l'l .· ~'~I~n:~~ ,~ f~',~.~
I.of thi . . I . , "as dun in S u,rolk h.· Ycl'N, un . nd
('", , ' 1 "l"h.· I("'~'
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h.H ,h,,' a pl"$;1'" lam•• nd nOl ce ' 556 Au,,/Jo (jf IoD6
(,b08) ;':,). :'0 1)" ,lin", ..· ,n.kn m" ""tlh.) ,h., all ,h"
"0 •..1 ... ,II .~,d.· af(aonst" ,h"m 1..- .. n", Ill.... "b"'ed.·
te. D is tinelton. nOle. Obs. ant '.
.67D G . 11. I{", . (,,,,d,",,", , ", :0, T h.·, .. .." . I,,·,.un.
of no I(rra' no," • • 10", , ... "h,, ~. m"d .... ("" It.·o".
d . An Ulleranee. usu . in ph r. to m ake ,wis es; co
CXprt·ss (somelhin g) voe:,lly: frell. w ilh d efining
:Idj . pn:fixcd .
' 95 ' :-.I . :'ol M'HI 0p"''''1i .\',,,h, ,,, ' 5: O. Cu. ", >A,d
'I'd btu.·, 1(<> ~"d m~~.· ,,, ,, r,,,,,," .1 ,," ..e • • , h",,' '955
T""" 2. Ju] l' K/6 I(. h .. ,•• u. '" h), , hcn ,h. ""...·ah,,'" ,h,·
'2 Gc.ma" di,""o" o ' " W.F. .U . ~"d :-<.A TI ) ,. 1956:-<
~:k":~ ~,~'~~,".::. /~~6~(.~~\~)';·.':::; ,15·S~:::..:!1t':c"ft~~~~
L,u.,. als haH m.d.· n.,,"al ... ,,,, .. co ,n ,he p." ' 967 .\'~ ...
StI, n/ill : : J u"e 7 , I! GC "tral F.le,·" '( ano] AIc,,~. (,,'
.ump!'. art m.k"'l1 "".... ~ .10".. , 11"''''11 "'''' ~ " ) " .. ,].1"'1(
1969 S. I h ·,.... sI> Top /11-'> Su ,,, "'. IF. 1 ",ad~ . he "I(h,
k,nd o( 'n co".a~,n~ "'''su. 19" (; .... ,11"," q :'oh~ u r.
Th ... II a !,mpla'IOn 'U sc, ' he h."d uf T al<' .nd ] .)I~ a" d
~ Ir Cub~ in a" y pol",nl no .... f."", ,h •• ,,~ .. " • ..1. ' 97'
I'. \\·O llSTtl OII S •. S M, .. /", .\1) lh '" J2 Th .. L.b"", I'.. ,)
~h~l~;::;:~~~';~ '+~::;~~ 1~~~"'i~(/\I~h',~':':I~ ~h~: :~;';:~:~:,i
' • . as 'h q' S<'~ ;,. nnkinw mo". /II~"dl) n"' ..... " , p"r.,,,.• ""
d~"r1ol'men' ,. nd ",• ..1 1,,,,1.1'''1( ."'" ..,,. c.. lh .. "" ,,,,, ....
3. a. A loud or hars h sound o r :tn y kin d ; :. din .
( 1190 S,. 8 .. ,,,.. 60. 5 ' '" S 1-:"11 "'1(
1 : 11 AI,·., "" h.lf
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,ahr.. I Sh t l l' flU 'H."" (·.. u""hd.. •• ('",,~ f.' { ".I 1J h.
Th' I.~ kh"I( .. . ""h .h'l(,n, (mc. "f ,h. "",<I,'. ", • ..1 ..... , h
• 'c'flhle nUHC. ao d "n l .. r,·.,d.. 11 .uh n .. . 6~4 Q, "M, >.,
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,h. ,,0 ... o( T,u",p.' •• nd b"'''''11 up ,,( I) ... m. ' 7'0 J
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:-.101M'. " 1774 {;UU ... " .\'''' II", ('77bl I ,60Th .. ",,,,,,,n
cun"n"" d Ih. ,,'ma' '''''1( p." "f ,h.. ..I.. . ""• ..I,d .h.· " "''''
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:its ~i::: U"N.~~:~~,lt~I:~"TI::~;':'~,':~ ~,:~~~i;'~~~d' ~~;'::~~
mak... " ch a n",.~ un • I".n"
b. The ag~regalc or loud sound s a Tl ~ Itl~ m :.
b usy cOlmnunil y.
( ' 450 tr ()~ I ... " ....""", ., JJ 1", h.· "'I,J'."'I' h'''' f,·,
f,,, "'-" ,,1<"1 " ,,~,.•. ( , 6 ' 0 11'"",,," Sm,,,, (,HIIDI H 111
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, 651 l1 o~~ >_, l.fT w,h , II S IIh.. u , ... d ."..1 ", ~d . ",·ak;.,
,h,· 'O)'CC .. f • rn a" .. '" ,I". ,UJ )· ••• .. ( ,1,,- d. )' , 676 ll ~"
(·"nl nnpl. , . ~116 1 " .ha d l' I'", •• )· . f,,·.· (, um ,10.· :-.0'" .... And
b"sles o(,h. Wo,ld ' 7)0 111 ~",. " 1' 1.'11 Wk , . '1171 IV ' 7J
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I. ,iI S ... ~k r~ . r.. "" ",,,. e and 0I~ )' ~,,"'. ""'.rn n .....
C. )toi:;es c/feets. I lI!!!=~;;;;"i:.
confused. p.,odu .., d~fI· '~
'h'
rv;.luating :,irer:lf! noise in terms of its intensity
and dur alion.
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.
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(~ :-.I I ). ' 97' (>11>",, 11 ..11 :-<". /,t.ol )A"ul","u,.,,,dulnr
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. nd ,h~ "umh.. , ,,( '""n . PC'"""" UI""" d II, a,.a.(,
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4. :\ sou n d which is nol remark.,b l)' lo ud .
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:. ")~, .• ,, ... 11m, ''16 W.· .. ~,h· 'um.· 'n'. hu, .... h .,,~h
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t·" u" I{ul) G 1''''1 S I , .. " jb ~",n.· " 1''''' "f,heel'. ,h.,
.. h.·" ,hc ~ """ ". 'h n ..... r,." d ,,( ,h,· "",,,. ,,( ,h.·; ..... n
f.·.·, , 697 nil " ,," !'''II a,u./( ,. ~D' A b" u, n~ nl),~ .. " (
lien h .. Ear> ~' .. m. ' 7lZ AM~' ' II ." ' '' /("1,,. (Ju , ,n
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'nhull ••"" " ' 774 (;{>' ,"" . .\'m 1/", ('77h) " 11 lIlTh,·
l!:'~·~,·~~',~h/.,~~; :,'t~ti:~,~'·~. ":"~""I"~';:~ :~;: ,:,~~::~ ,,;~~~
"'I(h, ~hc 11"".·.1 ..I""" ,,, C." ...r.,. ,K,61t N'''''"' Th . f.!f
1" "0 .11,.1. (,8 7M) .11' 4 T]II" 1\''' .... "h,,-h all,·"J , h.· .~ .. ,,(
, .. ,, ~hllli/
/Ix , 66o ~,,, , .. Sum {' i17) I\ ' J ' Ih"· .. ",,I,',h"'~.,ha'
"t"'~ I..'''''' ".>... ",,' ..
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5. II .
a h,,·. kml( 11,·a" .
An a~reeahle or rndndinu s su und . Now
IlI rt .
C " ""M u,,'" /1"" 7'1 ·I·h." d",h . h.·
' '''J66
8 'i/ h' } "I(~ le h" rn~~I" T" " uk.· "" .... " "d ') "i/"" h11, h.
JI.." q,l, Th.· ... " .• . on "· n"",~. (; .. " ",..~" .. '"'I''' ful
h k", ~ , 14D) I."". 1",,,,pl~ (;1". ' .II"l>.· " ..," " " .1 h.·" .·,,11
o,,.] ..d,,· W h,~h I'.' I'." " ,..,,.. '" h.·, .,,",,"" 'Soo-JO
:::~~,~'~,~~~;'. ~1,~~,I I,~,:~~:,;'~';~;'I;'~:~':'~';~I(~'lid ;s'~~
l""t~" I', ,10, s( ;,,,J,>I("',,·.I' ,,,, h .. ,,,.·.. ,,.. ) ••· <1 ' 55)
r" .. , /lupIn /J , " ' 0 l 'p ""h ...""' "":'1 n"p'·. s ,,~.
." Itflo~ h"nt. ,h,· 1.....1 .. ' ' 585 T \\' ",,,,,., ,, ... "
.\"uh"I<I)·' I '", ' " " K~ I)" ..·.. 'l",h .. I, "udr a , •. ,~
1'1''''. 0' ~nd d..J ... ,.hlr ... ,~ ... '7 98 1..".", ""K.' A ", ..\1 .. ,
Jf>K 'I It .........1. 1"1 ,,,I1,h,· u,l. n, .. d.· "" A I'r..~ ... ", ""' ...
,,11 "''''''. A n"l><" I'h "I. h,d,k" h,,",~
t b. A com pan y' or h:lnd ur mus II: ,:tn s. OhJ.
1558 ", :>i .. h"I.I'I "~ '
.... ,........<1 ..... ,1,,1..1.
, :-<..... "n,u F. n,hu,.h
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I " .. h·J (,,' ,h" ...
h"n'p"n
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.., •• •.. .. C·· ..· ,,(
,,,.' "
NOISE
'" ,h ~ '''''''' ~ "( u,, 19)J F. E T l "" ...... /lad,,, F.~.~ .•, '0,
T h. u"'I''' ' C"It( nn .. bllon~d . on ,h •• b,.nrr 01 ~ IIl(n.]
'·oh al(' prod"c. "h .. "c""u".."ll· .cf.,,~d 1o .. '"0'''''
"h~n 1I" .. ,nl( ,h,,,ol(h • . 'o"d 'l'<'~h •. ~nd " " al ...
~~~': ;~~~,,!.~~~'::d ..:.r..~~~~~r'~~"~o~;:' o;~'~~~~d ':;' :~~
:.
~t.:,~~"h: ,:=~'~i~~~~~~?;.~'::~.::,~;:· :~4t.;Z~O~~~,,';". . I&
~ ' UN 'O " T,I"",Qtf " . ' Q4 II . he no"" ' s app , ... ,~bl.
(on,p •• ~d .. "h ,h. p'( ''' ' . s'l(n, l. 11 al'pears ,n ,h.
" 'I"udu( " " " ••• 111 ) ".01 o f cun",.", I)" (h.n~"'1( b" l(h,
)p.·(k. 19SJ J. 11. t;AKMU'.'. SluJy 01 l.o"XUOI' '". l O' II 'l
.. " ...·..u.l' II> .. "d )' ,h.. ,ffcc' or ,h. III1"a]' IO'" oi" " " 0 on
,h.· ,lIk ,. " C)· III ( U... III"no ... "O". nm" h''''11 d.finrd .. . h.,
p.n o( " ..... " . 01 "an, ,,11.S'Oo ... h, ch ,. u".n~o". 'u .h.
""11",.1 " ..... ~. '96J A :-<""'"TT T"h ..,'1"~ S au"J S, ..d,Q
l(tl In .n . I"' ~I"''''( (om!",'n.,," . " d .~co,don~ '"
""M"",""'n n"d,~ ,h ~ "lIn.1 mU $l ~omp<"" .. "h 10m..
d,·w..·•· o( I>.ckl(ou"nd "'"... ' 966 ;\','" Sru",,,, , t. J u,,~
7''' ' J In ,h,. "'.~. a ,.d •• echo ",·h" h m al o.h.... ,.. bt
h,dd." h) """,~ ... ,~ "d ... d .·,,,bl •. 1968 J. LI'os~ 1.. /, ,,",,
1"h""",r,,1 {""Fu ,,,,,, II . HK T h. d""'."unJ p.od " ced '"
"n~'~ h.nd" .... nl( ,n a III" .. n~ ".," can h•• ,,,,bu'l'd 10
·nu.... ·. ' 970 0 1>U,.,·, ... " ('U"'P"'U' (!J Dm .. P" ,u,ung, l'
I" (" .. n ."",, 'h~", ) ..1 • • 11 1.'lIci) ... "h "h'l h. ppen. "h." a
~~.~~:;~' ':~':':l(rr:;;; t;~~':;!,,"{!1·..Ii~~:;'~~:d\'ir :~
~~::~:~i.~~I'(~:~',:c~~::~':~~:1.~~~~;'i:~;~~~~J;~h~~~~,:~ .h~}
'"u m.n) , ... ,,, h .,,, .".llon (lit .,.ch Oe",. nC. b)' . 'm ~r."n ~
,''''''u, ,,·n."" ")' " " h", ,h. , cu", .. ,·f... fraon,"·o,k. 1974
....<11,," '0 :'o1a ~,ql" A. "".m.lIy •.,." • ..1. d'l l' la}lof ,ideo
"" .... r."",, ·j h".c ,h •• PI, •• , .nee o( Ii.ld . u( .. nail . p... ckl..
"h"h ••.•. '" '" d .... b" ", . , ,andurn .
8. Cu m/I.. as Hais e abatcmellt. co"iTol. level.
· IItaker . • "wk i.,g. m ea S14 remel1 t. ", eter.
POl/UriOH , reductio ... s uppressiotl ; noi&e'/ree,
·mea&l.ritlg :tdjs .; no iSI: c heck :\10 /0' Ral/ying.
the usc of u d~'e i bd metre to ensure Iha! caTS d o
IlIH IlHl kc too milc h noise; no ise contour. an
imagi nary lin e or :'l u rf:,ce joi n i n ~ points w h ero:~
Ih ~' noise levd iS lhe smne: no ise facCor o r figure
Elu /'(J I/;(J. ;t q ua nl il )' representing thc
lIdd ilional noise in tro duced b y a sil,:nal-
processing de\' iee such :.s an amplifier (scc
(IUOIS.); noise !lIler Elu /rQn;rs. a fil ler fo r
sde c li\"dy rc duc inJ.: n oise ; no ise limiter
f..'lu/ r"n ;(J. :. circ u it or de"ice for select i"ch'
rcd u ci nto: ce rt ai n t ypcs of n oise. esp. b;'
momenla rily reducinl,: thc OUlPUI or the gai n
dur in l,: peaks or ~realer :Implitude than the
desired si ~n:l l ; noi se -mo n c)' (sre (IU01. 188.1):
noise SCor m A s/, .• a radin emission fr om thr sun
co n s i s tin~ of a succession o f short hursts o r pips
IIr~ in the mC,I{aherlz ra n ~e Ih at lasts fo r a period of
hours or d l'Ys 3nd is associ.t\ ed wilh sunspol:;.
'9lJ I/,,,/Ih I I. 4J II ,\ •• ,,1 ".", .• "c' r ~"a' " ont. an<1,
•• • ). ,mrn. d iatr ... nt .. . :"J".... AI> • •<rn.n. Soc or. y. '973
St" .. .... ,,~ 'J I'd •. Mil I, "",,1..1 bc "err h •• d. o .unai" .
'~" o" n.bl.· .'lIun,c'" "1(.10.. . h. ", 0" O" 'k .balem.n,
lI.o .. ,,,b. ' 960 S. T l ·HS t.MlI ally .tIJo: ,.,. tr~ Onc o,hrt $<) ri of
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po'''' ,n budd'''R :'o1& p1on . , 1)60 .\lrG' D.r· {/,1I F,"(yrl. Sri
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con"n"n ,l) (h"olrn.d ,h. ""'M' (..,or. ' 95Z 1I'.. " ~,,
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",,,.e .. to ",.k.. ,h. nOlI<" J lUnn" b.d •• III ,h, ,..1 •• 1 c• ..,
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' 961 /(,p ('u",m /J. ~ ..dr""mll lQ6u III 10 I'arl 1'"p.tS
10('/ ~ (C m "d '7~J) IX . J S ~ Th e Ha" d \' ,<'.. ha'< .1. 0
sh""" ,h., ,h,· ""'.. r.c,,,, "f ' ~"d," ' " ,n , h.. fb"d ...,
P"""", II·I."" ,·lr I"w h. '944 I"M . fllf.· XXXII 4!0 /l T he
" ... ". ti w"'.· {.. ,, ( ,hr ,w,",,,k .. ,,,·ti,,.d ... th. ,a"" " f .h •
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•..
W~":~I~~I' U'~~n ~~~ :;~"~t ~~~.;";{~,{~,~I~; ~t~=l' ~(~,~~
'''''I'u, p""cr :-.lOll. o" 'pu' !>,,"cr <1",. '" '''U'~'' 0 ,,1~ Ib,oI
~ n ! :-.I~wa",.· f(rdh .. k h. , no .. tf~(, "h . ..· .... on ,he
~'uH'~ ~I(~,',:~:~i;~.:';t~:::. il I.a,','l~ w~~ '~"Il ft~:;6:';7, I ;:!;~.
,l,~, f.·vw' Sr' Lt: "f""Jo"uI IX 'JO , Th~ " .n... cnn,,,,1 '"
~ 'Earl yrlnt n l,S~e nturyu ~ , ~ " ",,, ,; hcr . J' ... h~n
~t1l~':ti:al.a',par~~er;::.;~.~"g 1(;:~'!,n;::.':".~I~
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'/.
1 U lg ,ttcUSS O 0, ,Y.t(n O "" .. m ae.n, .. " ... nt! .h.·
1t..rffi!lytl)e li~Jea~tft~t~·~.·,:,:.·; ......',~I'I~:" ... ~~~
lOP l'sEf i.n.U~~';b';~:k'~~'i[ ,).~'. ~:~' l';h !',:t1'. ,1,:/"
'~"'d 11, e'd a'U! ....
9itrp1,ai'e 4"~"oJ dc." ,n, '. ,,'.
r.SJ .~I;", • .,. ' ':' ' I'\i-S -"" I...,. J,n .• In
,lFiaft :of,~!Jsi,dUJ:~;:"'l. ,7,h.',,'9"jJ;~ " ,"HJ-{
~vocab;!Jliiry;, ~yiJt an -'~ ~~ I~~"
I brc(h es~r;a ',o f, np ise -
I making' in st rum e nts'~
t'~ create'an a rt' that "
incorp orat e d a ll
of th e sounds of
Europe 's industri a l-
Ized soundsca pe.
[Ita ly. 1920s )
 '"i,Cll glass is broken it tears at the
heart like the sob ofawoman.
R MURRAY SCHAFER

The sound of the

jackhammer is the
arc hetypal noise
of the city.

.,.

Pill/itt
Drum

••
 The U.S. Navy's Blue
Angels make sound
that rattles the
bones, overloads
the senses, and
completely com-
mands attention.

The industrial noise

of the wrecking ball
is a constant of city
life. In order to
create anew, the old
has to be oblite r-
ated - Shiva dancing
on concrete.

Demolition of the
Athens Ath letic
Club. Oakland.
California.
CHAPTER TWO

A festiva l enacts an th e fie ld, transplant-

a nci e nt Japanese ing ric e seedlings
rice-pla nting ritu a l
into t he paddies as
that is fast disap- they go. Rows of
pearing with the male drummers,
rise of mecha nized gong players, and a
agriculture. The flute pla ye r accom-
ta-bayashi group pany the women.
consists of a leader Th e rite is originally
(l eft top) who beats thought to have in-
or rubs two pi e ces voked the gods of
47
of bamboo together s un and ra in a nd
while h e sings with thus in sured the
the line of young hea lth of the year's
women. Th ey move crop. [Japan, ca.19801
b a ckwa rd through
ST WHAT DO WE FIND SO ATTRACTIVE ABOUT
rhythmically controlled noise? Part of the answer is found in the
nature of percussive noise. Loud! Sudden! It trips the switches in
the oldest part of the brain, the part that quickly reacts with a
fight/or/flight program, stimulating the release of adrenaline, the
elixir oflife; we never feel so alive as when the adrenaline is flow,
ing. ~ Part of the answer can be found in the midbrain, or mam/
malian brain, which is the part that assimilates all the rhythmic
information captured by our senses. What the reptile brain proc/
essed as a series of potentially dangerous noises, the midbrain per/
ceives as rhythm. "Hey, it's a rhythm;' it says, "a powerful one,
and the best thing to do with a powerful rhythm is entrain with
it, beat with it:' Which is exactly what the body, flooded with
adrenaline but with nothing to flee from or fight, aches to do. It
wants to move, to dance. ~ This seems to account for the physi'
ological pleasure of percussion. But there is also a higher level, the
level of the cerebral cortex, the part of our brain that handles
symbolic levels of meaning. What the rest of the brain hears as
rhythm and noise, the cortex conceives in a larger majesty. ~
The cortex recognizes this as particular noise, precise rhythm. It is
the rhythm that has always been played in the village to mark par/
ticular points in time - to honor the gods, to celebrate community,
to insure a good harvest, to commune with the larger pulse. ~
 Work

Before the Indlistrial Revoltllion work
was oJteliwedded to songJor the rhythms
oj labor were synchronized with the
hllmall breath cycle, or arose Ollt of the
habits of hands alldJeet.
R. MURRAY SCHAFER
Ten thousand yeats ago an agricultural
revolution began to sweep the planer.
Over time, large numbers of people
ceased being hunters and gatherers and
began learning the new rhythms of seed,
ing and harvesting. One of the tools they
used to adapt themselves to this novel use
of the body was the drum. The drum made
boring repetitive movement almost fun.
Even today you can find cultures
where the hard labor of life is seldom
attempted without the skillful application
of rhythm and noise. When the Baule
farmers of West Africa's Ivory Coast
work in the fields with their hoes and
pickaxes, they are accompanied by drum,
xylophone, and orher instruments playing
rhythms perfectly suited to their move,
ment and moment. The shepherd's
bell, the carpenter's hammer also speak
in rhythm.

Four smiths work It's an allegory for

together, rhythmi - the origins of music
cally striking an from the tuned
anvil, each with his hammers of the
own pitched ham- Bible's first musi-
cian,Jubal. [In
Rhythms of
mer. Musical notes
Tuba/cain 's Smithy, Work, War,
are everywhere in
this woodcut- title page of Musicae " I P&y
under the window, Elementa, by M artin 49
on the far side of Krom er, Cracow,
the doorway, on the Pola nd , 15321

~;J~~!:~~!::I anvil
" : : stand,
smiths' on the
hammers.

~~~
 lj tm villngers are brollght together to
work withollt amllsician, nothillg will
beaccomplished. The grotlp chooses a
musiciall to playJor thelll while they
work. The prodlJctivity of the grollp
depends Oil the mllsiciall who accompallies
them. A salary increase cOllld IIOt be as
effective. Whippill,g W01l1d ollly provoke
rwolt. A good musician behilld the grollp,
who follows the rhythm of each lIIember,
will help them all to accelerate. His
playillg will make the work elljoyable,
or at least less painJul.
YAYA OIALLO

In Arta. Greece, evil. Particularly

a pri ze goat is elaborate be lls are
adorned with a used in Greece;
Plann d hiploky pros (cast each has a slightly
Drum bronze double bell). different sound,
50 From t h e earliest so individual ani-
times, herders have mals can be found.
used bells to locate IC a.1979]
their flocks an d to
protect t h e m from
Drum and xylo-
phone join a harp
in music to give
rhythm to collec-
tive f arming work.
(Bau le p eop le, Iv ory
Coast, 19651
 When the Europeans arrived in central
Communication and western Africa, tbey were astonished
to discover that the people who lived there
possessed a sophisticated communication
system consisting of hollowed giant logs
know n as slit-gongs. Ingeniously posi-
tioned to take advantage of the natural
acoustical properties of rivers and valleys,
these gongs provided the people of the
forest with a percussive telegraph system.
The bush telegraph is only one
kind of African talking drum. More
portable is the dlllldwl, an hourglass-
shaped, two-headed drum whose twin
heads are laced together by thongs of gut
or leather. By manipulating tension on
these thongs , a player can alter the pitch of
the tone he is making, thus enabling the
dlmdllll to "talk;' or produce toncs that
sound like words. A master drummer can
maintain a regular monologue on a talb
ing drum, saying hi to different people,
cracking jokes, telling proverbs.

DRUM LANGUAGE who lIt/ders/ood the drum

A class ic t alking
drum, the dun dun.
(B urk ina FasQ, 1966J
Awt"" great obstacl, to t",
relaying oj drum messages over
great distallces is tl" fact of t",
friba/Ilature of most drum
languages. Since the tlmlll
lallgllag' is based all t", tribal
tOilgill' it is IIsually Imder..
stood ollly by members of till
tribe. There is 110 "inter. .
noriollal" drum language ;11
Africa (/ny more than there
is a colt/mOil spoken lOll"
g"ag'.... So t"(/t at t"e
bOlilldoey of t", tribal
group sending alit a
mmage there would be
a check ill trollSfllissioll.
This c/w,k ,,"id ollly b, ov,,-
come if a drummer were available
lallgllag' of his OWII alld of till
tleighbollri1lg tribe. S'ldl men
do "'''" in bOllndary villages.
Childrell of parelllS wi" "me
from tlVO difjerez" tribes often
leaTl! both languagrs and become
bili'(gllal on the dmm. Bllt riley
are lIot /1II",erOIlS and tllis fact
makes it diffi",lt to relay a dmm
message across rlze bollI/dory of
tlz, tribe. TizIlS, mOllY of tlw
stories of news travelling across
Ilast areas of Africa ill a very
short time must be accepted with
great reserve even tl!Dug/l the
drtlm lallguage may seem to pro'"
vide an explanation,
J . F. CARRINGTON
 The islallders have IIOt yet adoptedelectric signals bllt
possess, however, asystem oj cOI1I11/tmicatioll qlliteas iffective.
Their Ilfige dmHls by being stmck ill different parts collvey
lallgllage as clear totheinitiated as vocal speech.
S I R HENR Y M. ST AN LE Y

D RUM H UT
WJ~II theallthropclogi,t
Jolm Roscoe (Omf to
Ballyollko[e, hefoulld, at a
little distance from the royal
kraal, asmall me/omye ill
Ivhieh ,tood thehilt of tI~ royal
drums. The Jlllt was always
domed alld might have 110 pcillt
orpillllacle; illside there ruas a
,to/ld or bedolllvhich lay two
drllm,. At theback oft/~ hilt
A drum hut in cen- behilld t/~ bed lay aqllalltity of
tral Afric a house s a
materia/for repciring there
large slit gong
carved from a log. drlllllS, and this had to be care,..
The drummer flllly gllardedfor it might 1I0t be
ex ploits th e natural flsed for allY otlter purpose. To
sound-carrying
ability of th e water-
tI~ left ofthe hilt war abag, ill
w ay. [Lokele people.
Zaire, 19405]
which weTe theinstmllleniS
necessary for takillg an QI!,gury
,hollid it be lleeded, alld beride it
lay some whistles alld all irotl
rod IIpcll which t/~ tool, for
making the drums were sharp ..
medJor tl,;s ",~/lt 1I0t he dOlle
IIpcll a,toile. Illfrollt of the bed
or stolid IWS a row ofmilk pots
beiD/tgiltg to tI~ dTllm, ill
which thedaily offeriltg' of
milk were p"t. TIt, chief
drums were tlte two which lay
llpo" the bed. These wert' COII --
ered with white skillS with a
black strip across them, making
them look like apair ofgreat
eyes ill the gloom of thehut.
A roer,d herd of cow, yieldeda Offerillgs of cattle or beer were
rupply ofmilk which wa, daily mad, to Ihe dYllm, by chief'
ojftred to these drums ill the whet! a SO" had been bom to
pots which stood injro,,! of them or whm they had received
t/~m. It war placed t/~re ill the promotion tosome office or had
mornillg alld remailled f/mil hem successful ill some exped;.-
Hint or ICIt o'clock, by which (iOll alld famed the (omlllftldo"
time thedrl/l/J.I'spirits had takm lioll of thekiltg. Tltekiltg 01'0
theessence alld till' Tell/oiltder made an amlllal cifjerillg of
might be dTllllk by tI" gllard- cows to the dmllls, so that tltey
iotls. There was also awoman, pcrr",edalarge I~rd; tllO"
who was known as the "wife offeredill 1ft,}iFfI of themllOd
ofthedTllm( alld IvllOre dllty to be red or white and those for
it war tolook ofter tI~ milk, lite recolldblock. T/~" COllif
the c/turning, alld the {overillgwere sacred alld the killg alolle
of the dmms. Another woman migllt order aile to be killed;
looked ofter tlt,}ire illihe 110 one but tlteguardiOlfS mig/It
dmm .. hoflSf, which had always eat the meat of0/1 anima/thus
tobe kept bl/ming because the kill,dolld tI~ ,kill wa,kepIJor
dmm"rpirits required ruarmth. repairillg the drmns. It fUM
fromIltere cow, th.t t/~ milk
was take" which was daily
offired to the dmms, a"dfrom
the surplus milk butter was
made for smearillg Oil tltem.
CURT SACHS
 Another kind of
talking drum, the
paired atumpan
of the Akan people,
is played by a
master drummer.
[Ghana, 1964[ ~

A village chief
offers pieces of
cooked chicken and
rice with palm oil
sauce to his ances-
tors, who were
drummers. Many
cultures believe that
drums have resident
spirits, ancestors or
others who must be
honored by offer-
ings of food and
drink. [Dan people,
Ivory Coast, 1965[ "

What we have offered to YOtl, dmm, now its cooked.

To all ojYOII, gods, I offer YOII YOllr chicken.
The chickfll I spoke oj, there it is, cooked.
Grant tiS goodJortlme!
Gra/lt tiS wealth I
Grant liS children I
Plalltt Grant lIS goodJortlille l
Drum
54 The cltickenwe killed in YOllr honor, there it is, cooked.
DAN V I L L AGE CH I EF, I VORY COAST (1965)
 Beating the cadence on a large drum or
Hortators slab of wood, the hartator held a unique
position in the hierarchy of a ship's
personnel. Boats powered by rowers
cannot go anywhere without precisely
The African sculptor,
coordinated rhythmic movement. perhaps wanting to
show a European
The horrator was a laborer, like warship from a local
the rowers, subject to the captain's com. . perspective, carved
th is crew in G e rma n
mands . He got as much mileage out of naval uniform pad-
the crew as possible without driving them dling a Cameroon
wa r canoe. The
to collapse. He knew their potential and hortator is beating
on a slit -gong_
limits. His sensitivity meant the difference [Cameroon , ear ly
between victory and defeat, life and death . twentieth century]

((1 can't sta nd his attitude."

In this re-creation of
a Roman galley crew
from around the
time of Christ for
the Hollywood film
Ben Hur, men strain
as the hortator's in-
ce ssant beat drives
them on, ba cke d by
the master's whip.
[Un ited States, 1927)
Early War The drum beats . The adrenaline Rows.
And we either dance or we fight.
Alongside the dance drum and the work
drum, we have to set the war drum.
Drums were the driving force behind the
percussive din that characterized the
ancient art of war. The name of the game
was to energize your troops while terrify, Mongol soldiers
use kettledrums to
ing your enemies with the thunderous exhort the troops
and relay commands
noise you could make. above the din of
battle. (Painted illus-
tration from Jam;
'at-tawarikh, History
of the World. by
Rashid ad-Din,
Persia, ca . 1306J
On the title page
of the medieval
Spiezer ChronIcles
by Diebold Schilling.
a bear general
rall ies his bear
troo ps for battle,
w hile the band of
fife and drum p lays .
[Switze rla nd . 1339)
W here drt/lllS beat, laws aresilent.
ANONYMOUS PROVERB

Rh}1hmsoJ
Work,WIlt,
"dP/,y
57
 At the battleoj Actilllll (31 B.C.) it
is said that QyWI Cleopatra IIsed
IIIllIlerOIiS sistra, played by WOlllen, to
intimidate theenemy, giving rise to the
appellation "Cleopatras IVaI" trumpet:'
It is diffiCIIlt... tobelieve that thesOllnd
prodllad by alorge body ojwomen
shaking sllch instruments cOllid terrify
apowerfll/foe.
JA M E S B LA D E S Kettledrums in a
military parade, a
conspicu ous display
of pomp and circum-
stance. (Engravin g ,
England , ca. 1760]

In this massive -,
mounted mi litary
band on parade are
eight drums, six
trumpet p layers. six SHAH-NAMA black as ebony. Lik, the light- clatter ofswords
THE EPIC
cymbal players, and OF KINGS lIil!,g thatjlashes from the midst Qlld of arrows)' tIlt' !par'"
three players of of the dark clol/d, so raysflick . . riors blood tlIYtled the plain illto
pairs of kettledrums
on camelback. Be-
The (ommat/der of tlte eredfrom the balll,-axe alld marsh. tlte earth trembled a seQ
sides their military Mazolldaroll; army imtllid;..- sword. Th, airgleamed red, ofpitch whose WOllfS were
function, these noi- alffy issued the order tlUll llis black and violetfrom the /1111/li" formed ofswords, axes at/d
sy bands played for troops as aile 111011 sllOllld liflliP Ilide oj lallus alld tl" COIOIiTS oj arrows. Panting horsesjloated~
sporting events and
ceremonies, when·
tllfir Il(ads and go i1lto battle th, ballllm. AI tl" slwllts ojtl" like ships at sea, spredillg
ever the clatter of displayil'J Ii" collrage ojligers. Divs and tlU' lIoise made by the ,"wards (ill tlley sallk. Axes
officialdom needed Each //lall dmy tlte swordoj black dllst risillg, Ii" thlllld" of raimd blOllJS 011 helmets altd
PLmtt to be heard. (March
Drum
vmgeallCf and tIl( armies.flullg druIIIs altd til! 1Ieighing ojwar skulls as fast as alltllmlt !lIes
of the M e hte r, from
58 Surname· ; Ve hb;,
t/temselvEs flpdll each ot/1fT. Oil horses, tlU' /Ilomllailu IlIfTe retlt blollJ dow" tlU' Itavfs ill sholUers
Turkey, ea rly 1700s] eitlln st'Je resof/tldedthe trum" alld the eartlt cleft tmmder. So from tire llIiiiow"trffs.
pets alld clTrlms, tilt air bea"1I! fie", acombat had bem JIm by RECOUNTED BY
AB U ' L · QAS I M
bille [will. dllsl Jalld tl" grolilld before. ulld was II"
110 1/"1/ FIRDAU51 (941-1019)
dash oj Iheballle-a",s alld Ihe
 The Battle of
Blenheim is over
(August 13, 1704)
and the kettle-
drums lie discarded
beside the banner
of the losing side.
An a lliance led by
the British Duke of
Marlborough has
just defeated t he
French and Bavarian
fo rces, wh o were
m ak ing their way
toward Vie nn a
with dreams of
conquest. (Detail
from Th e Blenh eim
tapestry, Engl and,
eighte enth century)

"Take Illy dmlll to Ellglalld, hang et by theshore,

Strike et when YOllr powder's rlllillill' low;
if the DOlls sight Devoll, I'll qllit the port 0' Heaven,
all'dmlll thelll lip the Challllel as we dmlllilled thellliollg ago:'
Drake he's ill his halllillock till the great Armadas COllie,
(Capten, art tim sleepill' there below?),
Slflllg atweell the rOfilld shot, IistenillJor the drfllll,
All' drealllill' arl the tillie 0' PIYlllollth Hoe.
SIR HENRY NEWBOLT

.... Rembrandt's had used African until the mid- As the poem tells it, if it were e ver beat- RilytilmrcJ
drawing featu res drumme rs in a n eig hteenth century. great English sea- en in time of danger, Work,War,
mounte d Africa n attack upon Castile. (Two Negro Drum- man, Sir Francis he promised to
'" Play
kettledrummers, The tradition of m e rs Mounted o n Drake (1540-1596) return. The drum 61
likely seen by him in using blacks, cos- Mules, by Remb ra ndt asked his loyal cre w waits t o this day.
an Amsterdam pag- tumed in exo tic va n Rijn , Ne th e r- t o hang his drum at
eant. As far back as garb, as drummers lands, ca. 1637J Plymouth, Engla nd;
1085, the Moors in European military
bands, continued
 Ra nks of drumme rs
at t he rea r control
t h e rhythm of th e
b attl e , urging a nd
exhorting British
t roops into combat
a g ainst th e Conti-
ne nta l army at
Bunke r Hill during
the America n Re v-
olution. (United
State s, 1898)

See, tlte cOllqllerillg Itero comesI

SOlilid tltetYlimpet, beat tlte dYlims I What was going drum and waits Na pol e on's fl a g s
on in Na pol e on's hope le ssly, staring have fa ll e n, his
THOMAS MORELL
mind after h is into the fa ce of dru ms a re sil e nt, his
d e fe at a t t he Battle Death. Death s its gu ns a re broke n, his
of the Nat ions upo n a useless sword is in its s heath.
(Le ipzig>in18137 ca nn on, rig ht foot [C a rtoon by Thom as
Head in ha nd s, t he o n Na pole on's staff, Rowlandson, Englllnd.
g e ne ra l s its on a n left foot ta p p ing a nine,te enth century]
a ba ndon e d f ield ca nnonba ll. Syml?olls.
of d e feat al?qu l~~:
The drum played
an important role in
maintaining the
morale of General
Washington's conti·
nental army at its
loW point in the
harsh winter of
177 7 - 78 at Valley Rhylhmscj
forge. American
drum manufacturer WMk,WCT,
William f. Ludwig "d Play
commissioned this .3
oil painting in the
twentieth century.
 The black mell who played these illstnk
ments were dressed ill most elaborate lilli,
forms, with gorgeolls slashed tllllics alld
highJeathered tllrballs ifgreat splendollr.
It was part if their bllsilless to perform all
sorts if contortions and evoilitiolis whilst
playillg their instmlllents. Olle writer
says: "I have iftell heard old soldiers if
that period talk oj the alltics these /legroes
were so Jond ifdisplaying while 011 the
lIIarch, StIch as throwillg lip abass druw
stick ill to the air ifter the beat, alld catch,
ing it with the other halld ill timeJor the
/lext; shaking the JiliglillgJollllllie' IIl1der
their arms, over their heads, and even
IInder their legs, and clashillg the cymbals
at every poillt they coliM reach:'
HENRY GEORGE FARMER

By the late nine- A military band

teenth century the instrument, the
British Coldstream Turkish crescent or
Guards band had "jingling Johnny,"
enthusiastically was adopted by
borrowed from Europeans in the
Turkish Janissary 17005. This example
music. adding two from Turkey is now
tambourines and a at the Royal Military
"jingling JohnnY.' School of Music,
Exotic costuming Kneller Hall, Twick-
PL1I1ft
was typical. [Mezzo- enham, England.
Drum
tint, England, 17901
6.
Matthew Brady (or of his left hand show uneven t e rrain, rain,
a member of his a perfect grip for mud. snow, freez-
staff) photographed the rudimental ing cold. gunfire,
this little drummer drummer of his day. and other difficult
boy from the Union Drumm ers had to conditions.
army in the 1860s. maintain their bal-
The curled fingers ance and continue
playing despite

The esse ntial duo

of fife and drum was
central to the mili-
tary music of the
American Civil War.
[United St ates, 1860s)

W1th dYtims mid gIlliS, mid gUll, alld drum,

The enemy /learly slew thee.
My darlillg dear, you look so queer,
Oh joill/ny, I hardly kllew yeo
ANONYMOUS

RltylhmJoj
Wa,k, Wa r,
"I P!.y
65
Drums pervaded to be drummed out
everyday life In the of the service. [Unit-
military, from wak- ed States, probably
ing up to going to nineteenth century]
war. Thus It was a
terrible indignity for
a soldier in disgrace

Accordillg to the stroke of the drt/lIl,

the soldier shall go, jllit alld even, with
agallant alld SlllIlptliOIlS pace.
GARRARD
 This outdoor drum
ensemble rallies
the people of Adri-
anople to defend
the star and cres-
cent flag during
the Crimean War.
(Turkey, 1876(

• Farewell the neighing steed, and theshrill trump,

The spirit,stirring drum, the ear'piercingjije, "The Chinese army-
I t
The royal ballller, and al/ quality, trumpets sounding
the assembly. with
Pride, pomp, alld cirClimstallce ofglorious war. accompaniment of
the bass drum:'
W I L LI AM SHAKESPEARE (From Scientific
American, 1900)

A twenty-man drum
and bugle corps
marches at the head
of a military parade RhythnlScJ
~Vo,k, War,
during a peaceful
period In Mexican '" PJ,y
history. (Drum 67
Corps, Mexican
Army, by Frederic
Remington, United
States, ca. 1889)
 Modern War

As warfare grew more complex, rhe
funcrion of rhe drum changed. The drum
absorbed some of rhe signaling duries
formerly carried our by rhe rrumper,
particularly among rhe infantry. By rhe
sixreenth century, European armies had
developed a codified ser of drum rudi-
ments (or srandard pattern of bears) rhar
allowed leaders ro communicare various
messages such as "advance" or "retreat"
ro rheir troops.
Drummers held a privileged
posirion on rhe field of bartle. It was
considered dishonorable ro strike or
wound a drummer, rhough capturing a
foe's drums was a glorious achievement.
In facr, capruring a drum was rhe only
way many regiments obrained some of rhe
more valuable milirary drums.
The classic milirary drum was rhe
snare drum because ir offered rhe best
balance berween size and sound. Small
enough ro be carried by a single soldier -
some of rhe bigger kertledrums had ro be
mounted on horseback or drawn in a
carriage - ir produced a sound rhar carried
rhe underside of rhe drum ro give ir a bire
rhar penetrared rhe rhick noise of ban Ie.
A5 rhe rechnology of war
changed, rhe drum's usefulness on rhe
bartlefield diminished. The invention of
rhe repearing riAe, for example, meant rhe
end of rhe srraregic "volley;' which was
regulared by rhe drum. Soldiers could
now fire ar will. Wirh rhe advent of elec-
tronic communications in [his century,
rhe drum became all bur obsolere as a rool
of war. It is now an instrument of pomp
and ceremony.
In some sense, rhe drum has
reverted to its original use, that of cnerl
gizing and uniring rhe troops. Modern
armies continue ro march ro rhe bear of
rhe drum, rhe rhrob of rhe membrane
amplified by rhe percussive noise of rhou-
sands of marching feer. The rhythmic
energy generared by marching nor only
srimulares rhe body bur also forges wirhin
each soldier a sense of group uniry, a feel-
ing of entrainment wirh a larger organism.

We. .. eliColilitel' deliberate attellipts to

reprodllce the apocalyptic 1I0ise throughollt
A row of Ethiopian Italian invaders. is directly descend- the history oJlVarfareJrolli the clashillg
PLmtl kettledrummers The vicious battle ed in the tradition
Drum
flanks King Menelik included shooting, of the Ethiopian ojshields alld the beatillg ojdrullis ill
(seated at left). castration, decapi- church from the
70
Trumpets and drums tation, and other drummers who an-
allciellt tillies right lip to the Hiroshima
nounced the end of
Inspire the Ethio-
pian troops at the
mutilation. The row
of kettledrummers the world. [Ethiopia ,
aJld Nagasaki atom bOllibs oj the secolld
Battle of Adowa to ca. 1900J 1V0rid IVaI'.
victory over the
R. MURRAY SCHAFER
George Grosz
depicts the horrors
of Nazi Ge rm a ny
as a noisy phenome M

non. A jackbooted
foot, phonogra ph,
and military drum
compete for th e
crowd's attention
while Hitl e r, shown
with a party hat,
holds a m e gaphone
in one hand and a
ratchet in the oth e r,
the ultimate mas M

ter of sound. [The

Rabble-Rouser, by
George Grosz,
Germany, ca. 19331
 Play In Africa they say there is no rhythm
without its accompanying dance, rhat rhe
rhythm of the dancing body complemems
the rhythm of the music, and to separare
the two is to understand nothing.
Dancing allows us to lose our-
selves in a larger communal pulse. In
many traditional cultures, tribal cohesive-
ness is maintained through a calendar of
ritual evems in which the village fre-
quently dances from dusk umil dawn.
BUI the need for a community to dance
rogether is nor just confined ro tradirional

In some countries, community. A

people gathe r hollow log may
around long instru· serve a s a com-
ments that require munal drum .
playing by many [Probably
members of the Salish or H aida
people. Alert
Bay. Briti sh
Columb ia]

P~lIItt
Drum
74 Th e circus comes
to town, bringing its
own beat with it.
[Chicago. 1943)
societies. We all need to celebrate life, our
life together, whether in a unique, special,
ized moment like a wedding, or at a
Friday night dance for teenagers, or at a
carnival, or as a solitary street kid dancing
down the block with his ghetto blaster
under his arm .
For a culture to maintain its
cohesiveness, it must have rhythms that
everybody obeys, rhythms that are often
buried so deep that our entrainment with
them is for all practical purposes uncon, datllli everythillg btlt the cirCtls
scious. To dance together becomes a
o . e . cumming s
symbolic affirmation of all the rhythms
we share.
 The ,litill/ate aill/ ojdancing is to be able
to II/ove without thinking, to be danced.
JOHN B L ACK I NG

Wom en dance, rea lizing th e move-

m en play gong s. m e nts, not follow-
Each dance r has ing a lead er exactly
his or her own nor performing
unique w ay of cho reograph e d
mot ion s. (Ig orot
people. Philippines,
ea rly 1900s)
 Several men are
seated in a special
enclosure where
four larg e slit·gongs
are arranged in a
square. A fifth,
somewhat smaller
Instrument is placed
at an angle to the
others and its player
directs the group.
(:4.re:4.re pe ople,
Malaita, Solomon
Islands, 19701

Slit,dYllms. .. are believed to represmt

allcestral voices IVhich mcol/rage the livillg
to dallce illto astate oj COlllllllmal ecstasy
ill order to ball ish persollal preocClipatiolls
alld brillg those dallcillg illto COllllllllllioll
lVith collective forces passed aI/from the
dead to the Iivillg aIld those still to come.
ADR I ENNE l.. KAEPP L ER

RltytlrmsoJ
Balinese musicians W",k,Wlrr.
play an instrument
of tuned bronze '" PJ.y
77
bars (saron) in a
village orchestra
known as a gam·
elan. (Bali , Indo·
ne si a, 1930s]
 A young boy Icebyar
dancer performs
squatting, coquet-
tishly captivat-
ing his a ud ie nce.
Kebyar was a new
style of dance and
music d e veloped in
the 1930s a nd still
popular today. Vir-
tually every Bali-
nese village has one
or more gamelan
ensembles to ac-
company its festive
and communal
e vents. (Ba li , Ind o-
nesia, 1930sJ

Two female Icundu

drummers of the
Mendi people from
the Southern High-
lands Province,
Papua New Guinea,
wear opossum
headbands adorned
with feathers from
parrots, hawks,
birds of paradise,
and eagles. They
wear cone shells
under their noses
and as breastplates,
and pearl shells for
earrings. The drum
on the right is cov-
ered with lizardskin,
with pod rattles RhYlhmfoJ
added to enrich the H'.J,k, WIlf,
sound. The drum on and PLry
the left is covered 79
with snakeskin.
[South Pacific Fes-
tival of the Arts
at Townsville, Aus-
t ra lia, 1988]
 o

A kabuki
actor por-
trays a
street musi-
cian who plays a
hatchOgane, a rare An old J a p a n ese
instrument. The per- man dances hap-
former must whirl pily and plays a
Pianrl constantly to keep kotsuzumi (hour-
Drum the set of small. glass drum) afte r a
8. tuned gongs up in hard d ay's work .
playing position. (Brush a nd ink p a int-
(Woodblock print , by ing, b y Hokusai,
Katsukawa Shunka, Japan, n ineteenth
Japa n , 17701 century]
 \\
\

A young boy dances

e xube rantly to th e
music of a raucous
fol k ensembl e
t hat feature s a
larg e hanging drum
and a large hour-
glass drum. [Korea ,
ca. 1800)

Ornat e ly maske d
RI'f riJruroj
p erform ers dance
Work, Wofr,
and drum in a st reet
f e st ival In rural
and Play
Japan.IH anamaki 81
Festi val, Morioka
p refe ct ure, J a pan,
ca . 1950)
An elaborate enter- left are two female
tainment takes dancers, accompa-
place at the court of nied by an all-female
the great emperor ensemble com-
Akbar, who ruled prise d of two frame
India from 1556 to drums, hand clap-
1605. At right, an ping, barrel drum,
all-male naubat and small cymbals
ensemble plays, or clappers. (By
with three men on sa nwala. from the
pairs of kettle· A kbarnama, India.
drums, one on cym- ca. 15901
bals, four on winds
and brass. At lower

These near-
legendary women
dancers and drum-
mers were so acro-
batic that they were
said to be able to
shape their dance
troupe so the audi-
ence would see an
elephant. {Andhra
Pradesh , Indi a.
ca. 15901
 d··· .'t
- .•
. .,." Rattles made from cocoons and seedpods.
Rattles made out of metal. Raules
attached to the ankles, the wrists, the
waist, the neck. A rattle can extend the
body's natural rhythms, and make music
out of the dancing body. Rattles occupy a
unique place in the audio spectrum. Their
light tinkling and clinking hovers at the
high end of the audible spectrum, like
sparks thrown off by the dancer's energy.

Dancers can par- percussion, voice

ticipate in music sounds, playing
making in many drums or other in-
ways, by clapping, struments dur-
stamping, body ing their dance,
or by wearing
bells, rattles, or
sounding jewelry.
[Nigeria. 19591

The dancer's ankle

bells serve as rhyth-
mic accompaniment.
[India. 1970, )

Tin cans with

stones inside are
wornasJeg
rattles. (Kenya,
ca. 1932)
 .'/ " ..

Eve n d e mons a re
move d t o dance
by t he infe ctious
rhythms of cymbals
and clappers.
[Painting from The
Fatih A lbum of 5iyah
Kalem, Turkey]

At a wedding, a death) with frame

religious ly derived drums is presented.
performance of a The use of similar
maufid (comme m- drums has persisted
oration of a saint's for thousands of
years in the Near
East. [Dubai, United
Ara b Emirates, 1988]
Images of women
dancing and play-
ing tambourines
abound in European
graphic artists'
visions of the Islam-
ic world. Such ro-
In Nile regiolls the sacred dmms are
mantic and exotic hung in frollt oj the chief's house or ullder
drawings became
very popular in the sacred tree oj the village. Whell ill
Europe at the end
of the nineteenth frollt oj the chief's hOHse, they become
century. This one,
Esmeralda, came identified with the mysterious power oj
from an illustrated
version of Victor
his office. The dmm is regarded as the
Hugo's novel, The mouthpiece of the god or spirit.
Hunchback of Notre
Dame, published In CURT SACHS
France in 1831.

A traditional dance
is performed with
tabl (drum) accom-
paniment. [Khor
Fakkan Society for
Folk Arts and
Theater, United Arab
Emirates, 1988)
The caption below
this engraving in a
London newspaper,
dated May 27. 1896,
reads: "The proces·
sion of the Mahmal
takes place on the
departure of the pil·
grims' caravan from
Cairo t o Mecca. The
Mahmal is a square
wooden frame with
a pyramidal top,
covered with red
cloth and richly
embroidered with
gold. Headed by
a detachment of
cavalry and Infantry,
it is followed by
numerous dervish·
es, some bearing
banners, some beat·
ing kettledrums,
frame drums and
barrel drums:'

Three m e n pla y
side drums, while
others d a nce and
play double·ende d
spoon pairs. Look·
Ing on is a n inte rna· RhythmrlJj'
tiona l audience, Work, War,
including French ami Play
soldiers, European
87
gentl e men, and
ve iled local women.
(A lgie rs, Morocco ,
ca. 18651
 The predolllillallt sOlilld we heard as we
developed ill the wOlllb was ollr 1II0thers'
heartbeats.... Is it allY wOllder that the
reprodllctioll oj these pliisatiolls alters ollr
COllseiollmess alld heightens ollr
awareness? Or relllillds liS what we
already kllew alld have forgottell?
A . MANDALA

These wome n
dancing. drumming.
shaking, and rattling
all have babies on
their backs. Partici-
p ation in communal
rhythmic celebra-
t ion begins at birth,
or e ve n before.
[Sen ufo people, Ivory
Coast, 19711

For people oJlIIY tribe, with its rich
Plallt /
IIIl1sical COli text, exposllre to mllsic begills
Drum ill the wOlllb, whell pregllallt mothers joill
88
ill the cOllll1l1mity dallces. From illside
thell wrapped OlltO their 1II0thers' backs
with a cloth mzd takell il1to the dal1eillg
eircle with everyolle else.
YAY A OIALLO

the wOlllb, ollr babies feel the vibratiolls oj

the rhythllls enter their bodies. Il1fal1ts are
Dagomba boy.
(Ghana. 19701
Pe destal drums
are played en masse
to accompany a
spectacular leaping
dance in the central
African state of
Rwa nda. In the past
drums were em-
blems of royalty,
their sound repre-
senting the power
of kings. [Ntere dan-
cers, Tutsi people,
Rwanda, 195051

These dra matic ce nter. The eno r-

trapezoidal w ood e n mous bass sound
slit-gongs are made resounds ove r a
from huge solid broad area.
logs hollowe d out {Ndengese people,
through narro w, Za ire, 19501
d ee p slits at the
Mock combats and
stick dances are
widespread. In a
percussive donga
stick combat. young
men from rival
tribes fight. The
winner will enjoy
tremendous honor The balafon Is a
and prestige. The portable marimba,
only rule Is that one a type of instru -
may not kill one's ment widespread in
opponent. (Surma West Africa. The
and Mursi pe oples, marimba is com-
Ethiopi a, 1980s1
prised of a series
of tuned wooden
bars, their tones
usually reinforced Rhythmsc]
by gourd resonators UtOrk, W12r,
under each bar. ,,' P!.y
Instruments like 91
these spread to the

the
Newslave
Worldtrade.
with ---------------~~~~~J~~~:~~J
(Senufo p eopl e, Ivory
Coast, 19711
Dancers and drum·
mer wear ankle
rattles made ",am
dried palm leaves
folded In three
wfth a pebble or
seed Inside each.
[M iango people,
Nigeria. 19591

..
 ,'
In Cameroon, heavy
pa ired bells provide
the key rhythmic
pattern for a genre
of songs called
"music fo r the hang-
in g of a minister.'
(Barnun, Cam er-
oon, 19605]

Xylophones w it h
gourd resonato rs
are accompanied
by drums. (Pende
people , Zai re, 1971 J

The drummer's eyes

reveal the joy and
intensity of complex
rhythmic synchrony
as he concentrates
comp letely on the
movements of the
EUROPE

Led by a deformed
dWarf drummer and
a fife PlaYe r, troops
march Into a Village
and are Welcomed
by some lOcal inhab.
itants while Others
, I
PoInt and laUgh.
{rhe MOon Man of
Sankt SChiit'e, by
Wilhe/,." Jury, Ger.
lili lYilll many, Ca, 18 001

A Satirica/9119"a",_
in9 depicts a
Frenchman draped
from head to tOe
in tnus/cal lnSfru_
ments. lBy Nicolas
de Larrnessin, France,
seventeenth century}
Three childre n enjoy
homemade music,
t he f id dler accom·
panied by frict ion
drum and a gong
improvised from a
metal helmet struck
with spoons. (Two
Boys and a Girl Mak·
ing Music, by Jan
Molenaer. N ether·
lands, 16291

drummers m a rch in
a D'Mugg etatsche r
(Shrovetide or car·
nival association)
festiva l in Base l.
(Switzerland,1960)
... A snare and a
tenor drum join the
high-pitched fife'.
melody In a folk
version of the mili-
tary grouping. [Bar-
bados, 1986)

A street musician in
the Caribbean
shakes hammered
tin rattles or mara-
cas while blowing a
pollee whistle. The
whistle-blower Is
often the group
leader, encouraging
the other players
with it and signaling
changes from one
rhythmic pattern to
the next.
 Actors sing and
shake rattles as
they rehearse a
folkloric play.
[Pa ramaribo, Suri-
nam,1980)

... A la rg e shallow
drum played simul· American Indian
taneously by a tribes. (Oj ibwa
group of me n seat- p eople, Wiscon-
e d in a circle around si n,1916)
it provides the
rhythmic foundation
for many dances

The buffalo-maske d
dance by pe ople
from the Acoma
Pueb lo Is said to
have been adopted
through tra d e or
other contact with
a Plains Indian
tribe. [New Mexico,
ca. 1940)
 CAPOEIRA
dancers from Dill' seqllence oj
actions to allotlter. Partici".
pants 11ft/st be in top condition
10 ",eellhe demalld, of tlli,
strenuoJls art. In the streets it
{an be Iised ill selj..dejfllst'J bllt
dllrillg practice fW phy,ical
(Olltact should be made.
PilMt
Dmm
'8
Written rifermces to
capoeira date back more Ihall
two hundred years. One story
har it that bla,k ,laver were the
first capoeiristas. developing a
homegrown martial art to tlU'
accompaniment oj musical bow,
Not allowed to (orry Illfopons
011 paill of death, tlley lIlere
readyil<g tl~ir bore hOlld, olld
feet for ereape. The bOIll player
also serlled as lookout, and
Ivhen he saw a pIa,,"
tatioll guard coming,
,hallged the pattefll.
Th", the fighters IPoll1d
,honge tlteir movements
to happy dallcillg, alld
the gllord, 1Il01l1d
pass by lI1"o'''l'",ed.
A I R TO
M O RE I RA
Sketches of
ca poe ira by
Caryb e. [Brazil.
twent ieth cent ury]
As many as seventy This early repre-
singers and two sentation depicts
hundred dancers an Aztec festival
may perform the ensemble, with
intricate songs, huehuetl, teponaztli,
elaborate circlings, rattl e, and plumes.
and interweavings [Mexico, seven-
of the great corn teenth century]
dances. Corn dances
are associated with
agricultural festiv-
ities, especially at
harvest time. The y
are performed in Besides developillg c%peration,
lines. The rattles the
dancers use are gen- COI/IIII11IWI dallcillg //lay also encourage
erally large gourds
filled with dried restraillt alld the ability to attend to a
seeds, pebbles, or
even buckshot.
sillgle task, which are ullique capacities
[Tewa people, New ofmall a//lO/~st primates.
Mexico, early twenti-
eth century] ... JOHN BLACKING
CHAPTER THREE

At the "Whirling
Dervishes" annual
gathering. a ritual of
an Islamic mystical
order is reenacted.
This Sufi perlor-
mance draws thou-
sands of tourists.
The dancers are
said to experience 101
themselves in essen-
tial unity with the
divine spirit. (Kenya,
Turkey, 1970s)
".'
,"

~'-'~, .... CULTURES THAT CHOOSE TO ACCESS THE

higher domains - the spirit world, the other world, heaven,
Valhalla, transpersonal consciousness, the collective unconscious,
name it however you prefer - have often used some form of rhyth,
mically controlled noise to facilitate the communion. ;., Shamans
say they "ride their drum" to the World Tree. The classic posses/
sion cultures say that the Orisha, the ancestor spirits, ride the
rhythm of the drum down into the dancing bodies. Work drum,
dance drum, war drum, trallce drum. ;" How does rhythmic
music serve as a catalyst for transformation1 What role does the
musician plaY1 How much training is required before a drummer
can handle these powerful trance rhythms and not become
entranced1 What quality of balance is needed before we can
dance at the edge of magic and not slip1 ;";";";";";";";"

mOUl t

Drum
102
 Ecstatic dancing and drumming flour,
Bacchanal ished with the Neolithic mother goddess
cultures from 9000 to 4000 B.C . The
crumbling of this sophisticated culture in
the millennium before the rise of Sumer
is one of tbe ancient world's great From ancient
Gree ce until today.
untold stories. artists have been
inspired to illustrate
Remnants of their old earth, the divine madness
To dallce is to take part ill the cosmic based religion persisted into ancient times, of the Dionysian (or
cOlltrol of the world. Every sacred showing up most vividly in the cult of
Ba cchanalian) cults.
Over time, elements
Diollysiall dallce is all imitatioll of the Dionysus, which flourished in the cen, of older fertility
rites, sacrificing and
diville dallce. turies immediately preceding the birth of giving thanks to the
mother goddess,
HAVELOCK ELLIS
Christ. Most of the descriptions we have were combined with
of this cult come from its detractors, who seasonal celebra-
tions of sowing and
depict it as a drunken revelry in which harvest. Eventually
wildly dancing men and women sougbt the godd e ss was
forgotten, yet wom-
ekstasis - the Greek word for ecstasy. e n stili controlled
the rhythm of the
rituals with frame
drums and tambour-
ines. Be sides the
musical instru-
ments, common ele-
ments include wine
jugs, grapes, leop-
ard skins, and the
dance of celebrants
 - We recognize the
classic woman-with-
tambourine In this
modern drawing.
[Dancer with Tam-
bourine, by Pablo
Picasso, 1938]

Bacchante.
W illiam Etty,
England, <a. 1825)
Pl4ntt
Drum
104
Creating the rhythms for this orgiastic Dance of the
Bacchantes.
dancing was a percussive orchestra made [By Johann J. F.
up of clappers, cymbals, tambourines, Langenhoeffel,
Europe, 17981
frame drums, and the eerie drone of the
double,piped alllos.
In Rome, Dionysus's counter. .
part was the god of wine, Bacchus, and
the ecstatic group rituals were called
Bacchanalia. Entrancement in the revel
is induced by music and heightened by
wine. A5 Christianity came to dominate,
during the reign of Constantine (288-
337 A.D.), virtually all vestiges of the old
rituals were eliminated, though a faint
echo can still be found in the celebration
of (amavol.

This Hellenistic
mosaic at Cicero's
villa in Pompeii,
Italy, depicts
street musicians.
[Diosku rides di
Sarno, ca. 100 B.C. ]
 Psalms and Revelations

As we move deeper into the Christian

era, the type of rhythmic affirmation
represented by the Bacchanal almost
King David sits
disappears. Stillness rather than amid musicians and
movement becomes the pathway to the dancers, holding a
harp, while the
spirit world. Contemplation and agape musicians around
his throne "make a
(the Greek word meaning a kind of
joyful noise unto
selAess love) become the ideal. Most the Lord:' shaking
crotals and dancing
musical instruments are banned from the with abandon.
sanctuaty, while continuing to appear in [Psalter, 872-920 A.D. )

sacred art. The human voice, particularly

the male voice, becomes the vehicle for
worship; huge choruses assemble in the
sacred space of stone cathedrals to chant
the holy chants.

Hallelujah.
Praise Godin His sanctuary;
Praise Him ill thefirmament oj His power.
Praise Him for His mighty acts;
Praise Hilll according to His abulldallt greatlless.
Praise Himwith the blast oj the hom;
Two angels exalt the Praise Him with thepsaltery alld harp.
Lord. one beating
upon small kettle~ Praise Him with thetimbrel alld dallce;
drums and the other
on a triangle, on this
Praise Him with stringed illstruments Q/ld the pIpe.
bronze door panel Praise Him with the loud,soundillg cymbals;
Plantt from the portal
Drum of the Oratorio di Praise Him with the clallgillg cymbals.
106 San Bernardino In
Perugla, Italy. [By Let every thing that hath breath praisethe Lord.
Agostino di Duccio.
1457-61] Hallelt1ah.
PSALM 150
The twelve ringers
stand ready to
sound a peal, during
the blessing of the
new b e lls of St.
Paul 's Cathedral in
London, November
9,1878.

In the early centur-

ies of the Christian
church, the seman-
tron or "holy board"
was used to sum-
mon the faithful to
prayer. It was quiet-
er than a bell and
was said to remind
Christians of the
sound of nails being
driven through the
limbs of their cruci-
fied Lord. [Great
Lavra Monastery,
Mount Athos,
Greece, ca. 1972]
Masked Dance

The mask transforms. It is an image of

the ability to communicate with the spirit i
world. Ancestor spirit, legendary hero,
god and goddess, mythic creatures -
donning a mask can call them all into
being. It is said that you can release
tremendous and mysterious power by
simply joining a mask and a drum. This
is a novel idea in our culture, where rhe When the kachina
use of masks is confined to such ritual m ask is donned by
a performer who
occasions as Halloween, Mardi Gras, and und ersta nds the
cerem ony, person al
the increasingly rare tradition of the
Identity is lost and
costume party. the performer
b ecomes an ances·
tor. (H opi people,
Shungopavi, Ari-
zona, 1901J
 A masked me mber

society drums at the

edge of the sacred
forest. [Sen ufo
people, Ivory Coast,
mid-1960s]

I am certaill that the lise ojthe mask ill

Semesl masks, the kacl,illa ceremollY has more thall jllst
used in male initia-
tion rites, help
all aesthetic pllrpose. IJeel that what
establish a channel happens to amall wi,en he is aperformer
to the spirit realm.
[Papua New Guinea , is that if he IIl1derstalids the essence oj the
ca. 1930]
kacl,illa, when he dOlls the mask he loses
his idelltity and actllally becomes what he
is represelltillg.... The spiritllalflilfill,
lIIel/t oja mall depwds 011 how he is able to
project himselfillto the spiritllal world as
he performs.
SAM GILL
 The Dance of Death

Death is the ultimate edge - it dances Skeletons dance in a

church grave yard.
with each of us. Following birtb, it is With a bone stick,
life's second great transformation. The the drummer beats
a gut-snared drum .
Tibetans use human bones and skulls in [H eidelberger Toten-
tanz. Germany, 1485)
their rituals to remind them that one day
we will be the skeletons that otbers are
using for drums and drinking cups.
The closest that we in the West
come to this is tbe European folk custom
of wearing a memeuto mor; - a reminder of
death, usually a small skull carving on a
necklace or ring. In the Middle Ages,
however, the popular folk motif called the
Dance of Death featured an orcbestra of
skeletons playing drums, xylophones,
brass, and Autes. Some scholars think that
the motif might have been inspired by the
wholesale death caused by the bubonic
plague. Whatever the cause, this imagery
recalls a moment when the Christian
world recognized and reacted to death's
playful aspect.

The call quest of the fear of death is

the recovery of life's joy.... Life ill its
One skeleton pl ays becomillg is always sheddillg death, alld all
a xylophone while
another squires the the poillt of death. The cOllquest offear
old woman on he r
P/cnll
way. [Old Woman,
yields the courage of life· That is the
Drum
by Hans Holbe in the cardillal illitiatioll of every heroic advfll'
112 Youn ger, Germany,
sixteenth centu ry] Illre - fearlesS/iess aud achievemellf.
~~~~~~.JO SEPH CAMPBELL
A nobl e coupl e
is drummed off by
a tabor suspe nded
from the skele-
ton's waist. (Noble-
woman, by Hans
Holbei n the Younger,
Germa ny, si xteenth
century]

Featuring an exu - o ther outdoor Rhythms

berant kettle- instrum e nts. (End oJLiJ",J
drummer, this Last of Mankind, by Dtath
Judgme nt scene Hans Holbein th e 113
A drumming ske l-
a bounds in noise, Younge r, Germany,
eton, probably
with blaring trum- sixtee nth century]
part of a larg e r e n-
pe ts, trombon e,
semble for th e fes-
hurdy-gurdy, and
tiva l EI Dia d e los
Muertos (Day of the
Dea d) . (Mexico , late
t went ieth cent ury]
 A skeleton on the
old town clock in
Prague rings a bell
to mark the passing
hours. [Czech.
oS/ovakia, 19901

Rite flfId cerell/Olly as lIJell as

Totentanz (Dance of
legelld holllld the lillillg alld the dead I
Death) is painted on ill aCOI/IIIIOIl partllership.
the dome of the
JOHN DEWE Y
charnel house at the
Cathed,.al of St.
George in F,.eibu,.g
im S,.eisgau, Ger-
many. ..
A bell-ringing skel-
eton horseman
leads a charnel cart.
On the cart another
skeleton plays a
hurdy-gurdy. (Detai l
of The Triumph of
Death, by Pieter
Bruegel the El der,
Flemish, ca. 1562!

Th e w ome n in this
watercolor do not Rh,'lirmJ
seem frightened of oJuJralld
Death, but accept- Dratlr
ing. The musta- 11 5
chioed ske leton at
left plays pipe a nd
tabor. {By A. Kauw.
probably Switzer-
land,16491
 Skeletons play upon
skeleton drums,
Tile Tibetml Book of the Dead speaks one on a taiko (small
barrel drum), the
ojapocalyptic soulids ill the trallsitioll to other a da-daiko
the other side. Shortly oJter death, if lib, (large barrel drum).
A skeletal singer
eratioll is 1I0t immediately achieved, we are adds a skeletal
melody. (Japan,
said to glimpse abright mid radiallt light, nineteenth century)

the light oj our OWII essentiaillature.

Issuillgjrom that light is the "lIatural
soulld ojReality, reverberatillg likea
thousalld thullders silllllitaneously soulld,
illg:' We are cautiolled IlOt to jear this
soulld or beill awe oj it. Later, if 0111'
COllsciOUSlless has 1I0t yet reached enlight,
elllliellt, we wil/llleet up with dallcillg
One skeleton holds ritual dance drama
beillgs represelltillg kllowledge, playillg
a fly whisk, the of 'Cham , t radit ion- drums, bOlle trumpets, alld skull tambolf/
Pkll(t other a skull-tipped ally accompanied by
Drum scepter_ The danc- instruments includ- rilles. We hear a 'frightful tumult .. .
n6 ing skeletons are ing drums and cym-
both menacing and bals. [Lords of the mOlmtaillS crulI/blilzg dOlVlljillillg all the
comical, ch aracters Cemetery, Ti bet,
from one of the reli- probably twenti eth regiolls ojthe lUIiverse so that they rock
gious ta les annu ally century)
enacte d at Tibeta n
alld trell/ble alld shake:'
monasteries in the D . A . SONNEBORN
 Transformation - it's nor necessarily
Trance cosmic or orherworldly. Ir can happen
very naturally. Ir's a matter of arremion.
Remember disappearing into the buzz of
a summer day as a child, Or lying on a
riverbank watching the rippling Aow of
the cunenr as the water slips downstream,
carrying time with it, Or dancing effort,
lessly all night to a local garage band
when you were sixteen =
Scholars speak of a spectrum of
transformation with trance and ecstasy at
opposite ends.
Trance is usually achieved ar com,
munal rituals, wirh plenry of loud music
and dancing. The specifics - the costumes ,
music, and dance - vary from culture to
culture, but the pattern underneath is iden,
tical: loud music and vigorous dancing
lead ro a stare of overstimulation that can
produce a form of egolessness that is the
ground for any sacred exploration.
The second path, ecstasy, relies on
conremplative solitude to bring about the
required loss of self,consciousness. You sit
quietly, slowly allowing your complex
sensory apparati to shut down unril
evetything fades away including yourself.
What's common to both trance
and ecstasy, and to all the techniques in
between, is a necessary and disciplined
focusing of auenrion. All extraneous
rhythms must be put aside to allow the
celebranrs to focus maximum energy on
mainraining, at this time and place, this
one rhythm, maintaining it until and
through the point of transformation.

Dervish dancers in
northern India are
accompanied by
musicians playing
two frame drums
and a flute. Several
dancers have be-
come so strongly
The Day of Treading entrance d that they
was an annual rit- have lost awareness
ual of an Egyptian of their bodies and
Sufi order. The are tended by nov-
entranced dervishes ices from their
lay face down and order. [By anony-
their sheikh rode mous Mughal period
over them on horse- artist , India, ea rly Rhythm;
back to the sound of seventeenth centuryJ
beating drums. ojUj",J
Those whose bones Dfath
broke under the 11.
hooves were as-
sumed to have been
weak in faith. (Cairo,
c • . 1868J
Thmi, anllall llleal before daybreak In fulfillm e nt of a
dllrillg Ramadall. lts called sahur, sa cred vow, this ma n
alld traditionally, a dmm;(oll am WflllUS it. is walking three
miles carrying a
Midtl~JIt. A IIIatl sits beside tltegate to all empty courthouse, he avy yoke. His
drlllllmillg sttaJi!y the sahur dmmbeac. fl e sh is pi e rced both
back and front with
Someone(omer by."Wait a millute! III thefirst piau, 108 hooks. He is
sahur IIOPPfII' at dawlI, or jllst before. a ccompa nied all
Midnight is 110 lillieforthislIoise. the w ay by the
Alld stCOl/dly tlteres I/O one aroulld! be ating of a drum.
ISinga pore, 1932)"
Why beat adrulll ifllo earr will hear'
Is tltere somebieldt'll illuJ/igl'llfe ill what you 'ye doi/lg?"
The midl/ight sabur drummer mlS/vers:
"Sollieptoplr go toU!<Ir.
Sollief lldllre pailifll/ dijfiCfl!ties.
Solliewait patielltly. Everybody doer
seTlliu ofsome sort. Millt'is drumming
at thi, gate where theollly li' lell" i, God."
JELA LUD D I N R U M !

The veil ed d ancer

reache s out to
touch th e tabl. The
drum is considered
to h a ve h ea ling
powe r in th e con-
text of this d a nce .
(Khammari dance,
Fat ima h Sha h ha d
Mus ical Ense mble.
Do ha, Q ata r, 19881 ,.
 Balinese villagers deflect their ag-
in trance turn their gression. The
daggers on them- dancers fall to the
selves under the ground until
power of the malev- Barong. a friendly,
olent Rangda, a lion like creature,
masked witch who comes and sprinkles
uses her magic to water to revive
them. (Bali, Indo-
nesia, 19371

Whell the Illdiall yogi attaills astate

oj liberatiollJrol1l the senses, he hears the
anahara, the "ullftruck" SOU lid, Then
perfectioll is achieved, The secret hiero'
glyph ojthe /Illiverse is revealed, NUl1lber
becol1les audible altdjlOIVS dOlvll,jillillg
Rhythml
the receiver IVith tOiles alld light.
ofLif ""
R . MURRAY SCHAFER
Dralll
121
 Stillness

It has always been the bl/silless of the

great seers (kllowlI to Illdia as "rishis;' ill
biblical terllls as "prophets;' to prilllitive
folks as "shalllalls;' and ill 0111' OWII day as
''poets'' a/ld "artists") to perforlll the work
of .. lIIythology by recogllizillg throl/gh
the veil ofllafl/re, as viewed ill the sciellce
of their tillles, the radiance, terrible yet
gelltle, of the dark, IIlIspeakabie light
beyolld, mid throllgh their //lords and
illwges to reveal the sellse of the vast
silence that is thegrolllld ofllS and all
beillgs. Gods that are dead are silllply
those that 110 1011gel' speak to the 1II0rai
order of the day.
JOSEPH CAMPBELL

Monks play drums

and cymbals in this
procession at the Rhythml
Khampagar Monas- ojIJj",i
tery. [India, 1974) DrlZlh
123
 Buddhist lamas
chant during a
dance ceremony.
[Sikkim, 1971 [

Allfilial spiritl/al rejermce is to the

si/lllce beyolld sOl/lid. The /Vord lIlade
fiesh is the first sO/lIId. Beyolld that sOlllld
is the great trallscendent IIl/kl/oWI/, the
IIl/kllowable. It Cal! be spokm ofas the
great silmce, or as the void, or as the
trallscclldmt absoillte.
JOSEPH CAMPBE LL

Pill/Itt
Drum
12. A Buddhist monk,
Shingl ay Lama,
plays a doubl e ·
hea ded drum held
by a long handle.
[Sikkim, 1971 J
 Shaman. The wo,d comes from the
Shaman's Drum pastoral herding peoples of the Asian
steppes, who use it to refer to those indi-
viduals in a tribe or community who arc
professional trance-travelers, handling
the tribe's communication between this
world and the spirit world. Shamans are
healers, psychics, weatherworkers; they
lobby the higher powers to assure a good
hunt. [n modern psychological terms,

Blacksmith mzd shammz areJrom the

same lIest;' says aYakllt proverb. At the
begillllillg. the blacksmith has oilly his
fillgers, bllt he heals, predicts theJlltllre,
mzd startillg at the lIillth generation, he
embraces the art ojsorcery alldJorges the
lIIetalornamentsJor the shamans costllllle.
ANDR~ SCHAEFFNER

Tulayev, a Karagas
(Soyot) shaman.
(Irkutsk . Siberia.
Rhfthms
ca. 1927)
.jUj",d
Dwh
125
 I amfightillgJor you to (fireYOIl.
I will slick out what is hllrtillg you, to (fire YOIl.
The thillgs I shall take Ollt are the thillgs that are
cmlsillg YOllr sicklless.
NolV I take Mother,bear alld pllt her IIllder my arm
As 1get ready to look ill the crystal, and
1 will help YOtI.
Help us all.
Thank you.
SANTO DOM I NGO
PUEBLO SHAMAN (1930s)

Central Asian and

Siberian shamans
take their journey
to the spi rit world
to lea rn from the
spirits how to cure
an ailing Individual
P14Mt or how to deal with
communal prob-
Drum
lems. (Ka mchatka
12.
district , Siberia.
ca. 1840)

you could say they have mastered such
nonordinary states of consciousness as
lucid dreaming, clairvoyance, c1airsen,
tienee, and out,of,body travel. They are
also actors and actresses, dancing on the
edge in full view of their community, their
transformation a public performance.
You don't just become a shaman.
An inilialion is required; a teacher is
usually vital. The training is rigorous,
often, in the classic shamanic cultures, to
the point of near death. It is thought
necessary to weaken the body almost to
the point of extinction for the spirit world
to establish a strong channel. Only after
the spirits come, can a shaman leave his
body and go adventuring up and down
the World Tree. (The World Tree is the
image the shamanic cultures give to the
domain of experience that the occult
tradition calls the Other World, and
that some scientists of consciousness call
the domain of nonordinaty and transper,
sanal experience.)
A shaman typically needs three
things : power songs to summon his spirit
allies, spirit allies to guide him to the
World Tree, and a drum to ride there on.
Nepalese shamans
gathered to dance
at daw n, beating
their drums with
anthropomor·
phic:ally carved
sticks . [N epa l, date
unknown]
DAMARU
B efore Bllddhists (ame to
Tibet, Illere werepowe1ul
shamalls, a religioll (oiled &11,
whichstill exists ill some arells.
Tire proc/ili",ers ofBolt IUIII'
legemls ofdrums (omillg jrIJ/Il
II" gods,jlyill,g tltro,~1t tl" sky
with drums, Dnd so 011 . The
Bllddldsts walltedto distinguish
themselvesjrIJ/II tllese shamatlS J
altd so tlt,y did tlt'ir rilt/als
withoul drums.
LoUr. a great uacher.
Ts,,1,g Kltapa, ltadajrimd
lIamed C/lllmbu Neljar. who
did maltY ritualsfor tI~ god
Maltakala, altdIt, t/sedtI"
drt/m damaru. Maltokala
would (ome dowl! andrumble
arolilld; somnimfS dr"'·lIg the
ritllal, if Clmmbll was tired,
Maltakala ltimSf/fwot//d ploy
tI" drum. TIol!g Kltap<l askeJ
Clmmbll, "Why do YOlillse
--
this drum ? Yoll know lOf dOll't heart of Mahakalaalld mallY
lise drums because thats the other deities. Maltaka", (arries
way ofSIU""QII/' Clmmhll a,kill/ damaru himself. Tit,
repli,d, "I do itfor Mahakala. ,kl/I/ is asymbol of tlteIIIlity of
He likes it:' Emptilll'ss alld Great Bliss:
TIO/I,g Khapa IVas Iwt illsid" coloredblood red, sym-
(o/wi"ud. He said, "Try Iwl bolizes G rrol Bliss; outside.
/lsi/lg itfor awhile, a"d Sfe colored wltile, symbolizes
whether tlll"t'S allY differenCE. Emptilless. It is also aperson
Persollal/y, 1thillk its a tllmedillSide"'oll/, so to speak -
sf/perstitioll, andYOII Jo,,'t really tlleir skull becomes a vessel of
/leedit,ll their realizatioll oj Emptiness
So Cllllmbil ,topp,d altd Great Bliss. TI~ rottlill,g
lI,ill,g th, damaru. Bllt Ire f,lt of tlte damaru impels lite
IInhappy. andlltuer saw Q hearrr to dissolve their (OW
trace of Mahakola. Ev' rybody seioumess Olll oj the (oarse
was miserable. When Ts01{g body ofbloodaltd limbs altd
Khap<l retllmedh, ",k,d, jlrslt, altdjlow illtotlt' ir celttrol
"W", tlrere adiffer",,,?" nervous system, dissolving
Cllllmbil repli,d, ,hrouglr i"ner Ileal into the
"Til", IV'" agreat differ",,,! illller (!lmmels alldmerging
MallOkala didll't lik, it, alld1 into realizatioll of what is
dOIl't like it. So pilOse, letsgo " I/,d "Clear Ligltt" or
back to IIS;'~ the drum agai1l." "Tralls/lf(mt Light:' Whm
TIiIIl,g Khapatllfll YOII do these practices, aliawhm
reil/stitl/tedthe lise ofJmf1lS;1I YOII are initiated, YOII /ll IlSt have
ritllOl. They'lIl' bemusedeller adamaru, and //lIlSt always
sillee, and remaill dose to the keep it with YOIi.
TARTHANG TULKU
 Shattered burial
platform of a Yakut
shaman, his drum
hanging on an adja-
cent tree_ [Siberia.
nineteenth century]

His body deep in

The Yaktlt shall/all pl'eJel'sJol' the trance, the shaman
J/'all/e of his dYrlIl/, lVoodfrail/ atree that is perform ing a heal-
ing ritual. His sp irit
has beell struck by I~htllillg. is on a "magical
flight:' doing battle
ANDR~ SCHAEFFNER with spirits to diag-
nose and cure his
patient's disease.
Others keep the
drumbeat going so
he can find his way.
[Nepal. 1976J
 The ranle is old, so old that it's normally
Shaman's Rattle counted, alongside concussion sticks and
scrapers, as one of our first musical
instruments, long antedating the drum.
Take some pebbles, wrap a leaf around
them, shake them well - you've created a
( rattle. Made out of seedpods, bollowed,
out fruits, grass, leaves, fish scales, and all
manner of shells, ranles represent an
At a zar (a spirit
possession healing) ingenious use of a local ecosystem's
ritual, one perform-
natural resources .
er wears a manJur
(goat-hooves rattle The rattle is the shaman's other
belt) and shakes an
ashukhshaykhah tool of choice. The technology is so
(tin-can rattle), simple, yet tbe aural payoff is emotionally
[Cai ro, 1989)
complex. Shake a rattle and you bear the
rustle of brush outside the fire circle, or the
scrape of brancbes in the wind, or the dry
warning cough of the rattlesnake. Its
, distinctive voice, full of higb frequencies,
I
is said to serve as a focusing device.

III New Gt/illea, the history oj rattles is

also the history oj river travel. Shells
from all the variot/s ecosystems are widely
dispersed, SIIggestillg that they were a
promillent tradillg item. Ollly someolle
illitiated into the SIIbtlepower oj the rattle
can appreciate how crayfish claws alld
mt/ssel shells cot/ld becomeapowerfill
sOt/ree oj exchallge. Only SOll/eOlle who
PLlntt
has taken smoked lobster claws, wrapped
Drum them with bark,Jastened them around
130
waist alld ankles, alld danced all night
call t/llderstand this.
STEVEN FE LO
A sick boy is being
treated by five
III a Guillea legend, agoddess gave a
healers, all of whom rattle to Arawollity as he was walkillg by
sing. Each holds
eagle feathers and the riverside brooding over the troubles and
pieces of straw In
his left hand, and miseries oj humanity. A female foml, the
plays a rattle with
his right. (N ew ere/III, arose from the stream bearillg in her
M ex ico, ca. 1889J
hand asmall brallch which she presented
to him. Desiring him to plallt it alld
afterwards gather the fruit, he did so, and
thefrtlit oj the tree was the calabash. The
second time she did arise from the stream -
this time with some white stones in her
hand, alld she told him to enclose them in a
gourd. He did so, and this made a maraca.
It is ullder this allciellt name that the
gourd rattle Stlrvives in the modem Latin'
Americall orchestra.
JOHN FREDERICK R O WBATHAM
(1893)

Shaman Jose Panco the patient has

holds a rattle and a harmed, then cor-
deertail. Papago rects the mishap by
Indians go to their singing a song to
healers when dis- realign the patient's
ease causes them to relationship to
seek remedy. The that force. [Arizona,
shaman discovers ca. 1920)
what natural force

Rhylhml
'JLiJ,,,d
Drotll
131
 My grallI/[ather gave me the rawhide thollg to tie
alld the sOllgs to lise, and the 10llg sillew
cord to tie the toes.
My gralldfather, I am tied by medicille
My gralldfather gave me awhistle which
Pehrlska-Ruhpa,
has medicine power. a leader in the
My grallC/[ather gave //Ie atipi; the warriors-only Dog
Society of the
medicille willd //lakes it rock Hidatsa peopl e,
Upper Missouri
back alldforth011 theearth. River, North Dakota,
donned ceremonial
My gralldfather gave me arattle which regalia for this
portrait. His dew-
has medicille pO/uer. claw rattle is made
My gralldfathergave me the lIight. from deer hooves.
(Pe hriska-Ruhpa. by
My gralldfather gave //Ie everythillg 011 this Carl Bodmer, United
States, 1834(
B OB·TAILED WOLF,
CHEYENNE SHAMAN ('935)

Pia,ltl
Drum
130
 Tawurawana ritual
is e nacted with a
sacred rattle and
stamping t ube, ac·
companying rit ual
song s among t he
Kamayura Indians
-,", ...

of t he High X ing u.
(Brazil , prob ably mid-
t wentieth centu ry]
H1,ere shalllallislll cOllies to an fIld or
WOlllfllllO 10llger shake the rattle ill their
or~illalJelllillille rites, tilPY leave it to
illfallts as an irresistibly fascillatillg toy
its way frolll places oJworship to cribs ill
the Ilursery is but aile step.
CURT SACHS

The Warao shaman

intoxicates himself
with a massive dose
of nicotine from
potent tobacco of
the Orinoco River
delta region. He
chants and shakes
the rattle over his
patient. As the
stones, the shaman's
spiritual family,
dance inside the
rattle, sparks fly out
through the slits,
evidence of super-
natural forces
coming to treat the
patient. (Venezue la,
c •. 1960)

Rhythms
ofLifra'ld
Drat/!
133
 Sacrifice
Sacrifice is a key component in ritual.
Something must always be given up,
offered up, if commerce between this
world and the spirit one is to continue
amicably. In its extreme form, the sacri,
fice consists of one or more human
beings, particularly the victims of inter-
tribal warfare.
.fu Andre Schaeffner has written,
"The construction and even the upkeep
of drums can demand the usc of blood,
particularly human blood, poured either
on the body or on the skin of the drum.
From this originates special sacrificial
rites. Among the Banyankole, in
Uganda, at the time of the coronation of
a new king, the royal drums arc covered
with new skin; the blood of a young boy
is mixed with that of a cow and papyrus
ashes, and the mixture is made into balls
with which the drum is rubbed. In Dutch
New Guinea the skin of the drum is
gllled with a mixture of lime and blood
Captain Cook looks
on (at right) as a
human sacrifice Is
prepared f or a fIery
end . [Drawing by
John Webber, 1777 J
coming in part from the vitile member:'
In other cultures, musicians must feed the
spirits of their instruments with prayers,
liquor, even food.
According to a contemporary
account of one of his journeys across the
Pacific in the eighteenth century, Captain
Cook was able to take advantage of his
own importance as a friend of the chief
and witness one of the great Tahitian
ceremonies, that of a human sacrifice.
"When they arrived on the small point of
land, the seamen were confined to the
boat:' Before them were m.1ny men, some
boys, no women; priests, attendants, the
great sacrificial drums and those who beat
them; the bruised corpse trussed to a pole
in a small canoe at the sea's edge, some
miserable man caught unaware and felled
with a stone. The cetemony began at
once, a long and complicated affair of
prayers and invocations, the production of
symbolical articles, the symbolical eating
of one of the victim's eyes by Tu, the
offering to O ro of red feathers, some of
the victim's hairs, the dog's enttails, the
sounding of the drums:'
Rhr thml
ofLifr'"
Df4th
135
 •
T
he water clock marks the
hour in the Tower of the THE
Great Bell. Now the mallet is
lifted to smite the lips of the met- SOUL
al monster. '" KO-NCAI ! ' "
All the little dragons on the high OF
tilted eves of the green roofs shiv-
er to the tips of theit gilded tails. THE
All the potcelain gargoyles trem-
ble on their carved perches. All GREAT
the hundred little bells in the
pagodas quiver with desire to
speak. '" KO-NCAI! ' " For
BELL
five hundred years the Great Bell
has sounded thus, that thunderous golden KO-NCAI fol-
lowed by a silvery, whispery, "hiai:' For five hundred years
these sounds have made the lacquered goblins on the palace
cornices wriggle their fire colored tongues . '" KO-NCAI!
'" Hiai. '" There is not a child in all the many-
colored ways of this old Chinese city who does not know the
story of the Grear Bell, who cannot tell a passing traveler why
the Great Bell says only Komgai and Hiai. '" It happened
five hundred years ago, when Yang-La, the Son of Heaven,
commanded the worthy official, Kouan-Yu, to build a bell
of such size and powet that its voice might be heatd for one
hundred Ii. And he further commanded that the voice of this
bell should be strengthened with brass, deepened with gold,
and sweetened with silver, and that it should be suspended in
the center of the imperial capital, so that its sound might trav-
el along all the many colored ways of the city of Pc-King. '"
The worthy Kouan-Yu, eager to do his Lord's bidding, as-
sembled all the master moulders and bellsmiths in the empite.
Pia/lit
Drum He hired the most cunning foundrymen . And they labored
136 like giants, neglecting all the comforts ofliee, toiling day and
night to produce the magnificent Great Bell that the son of
,..
Heaven desired. '" But when the
earthen moulds were removed
from the bell, it was discovered
that the metals had rebelled
against one another: the gold had
scorned the brass, the silvet had
refused to mingle with the molten
iron. '" They would have to try
again. '" The Son of Heaven
heard of their failure and was an-
C H I NA
gry, but said nothing. '" A sec-
ond time the bell was cast. The
tesult was even worse than before.
Not only were the metals un-
blended, but the sides were cracked and fissured. When the
Son of Heaven heard of this second failure, he sent a mes-
senger to Kouan-Yu with a letter written upon lemon-
colored silk and sealed with the seal ofa dragon. '" Afrer rhe
opening pleasantries, the letter got brutally to the point:
"Twice thou hast betrayed the trust we have deigned gra-
ciously to place in thee; if thou fail a third time in fulfilling
our command, thy head shall be severed from thy neck.
Tremble and obey!" '" Now Kouan-Yu had a daughter of
dazzling loveliness whose name, Ko-Ngai, was ever on the
lips of the poets of Pd(jng. But Ko-Ngai loved her father,
loved him with such a deep, abiding affection that she had re-
fused a hundred worthy suitors rather than make his borne
lonely wid, het absence. U pan learning of the emperor's
threat, Ko-Ngai fainted dead away. '" When she regained
her senses, she found herself unable to eat or sleep, so worried
was she about her father's peril. Secretly she sold some of her
jewels and consulted a famed astrologer, hoping that his mag-
ic and wisdom might show her a way to save her father. The
famed astrologer examined the heavens. He marked tbe posi-
tion of the Silver Stream, which we call the Milky Way. He

• •
scrutinized the signs of the Zodiac and consulted the table of obeyed, and so the work went forward. The bell was cast.
the Five Hin, or Principles of the Universe. He even dipped And lo! When the metal was cooled and the moulds re,
into the writings of the alchemists. Finally he said to Ko, moved, it was discovered that the bell was perfect and beau,
Ngai: "Gold and brass will never meet in wedlock, silver tiful and its tone, when they sounded it, was deeper and
and iron will never embrace, until the Resh of a maiden be mellower and mightier than any other bell in the Kingdom,
melted in the crucible, until the blood of a virgin be mixed audible even beyond the mandated distance of one hundred
with the metals in their fusion:' "- Ko,Ngai returned home li, like a peal of summer thunder. And yet the sound also
with a heavy, sorrowful hearr. She told no one what she had seemed to be like someone calling a name, the name of
done, nor what she had heard. "- At last came the horrible Ko,Ngai, and between each mighty stroke a low moaning
day when the third and last effort to cast the great bell was to could be heard, ending with a sobbing sound as though a
occur. Ko,Ngai, together with her waiting women, accom, weeping woman were murmuring "hiai:' ,.... Even today,
panied her father to the foundry, and they took their places when the people hear the Great Bell, they remain silent until
upon a platform overlooking rhe toiling moulders. No one they hear that final sobbing "hiai" and then all the Chinese
spoke, not even the workmen. Only rhe crackling of the fires mothers in all the many,colored ways ofPe,King whisper to
broke the stillness. "- At last the moment came for Kouan, their little ones, "Listen! That is Ko,Ngai crying for her
Yu to give the signal to cast the bell. The metals were at their shoe! That is Ko,Ngai cry'
hottest, blood red and gold and silver. fu he raised his hand ll1g for her
to give the signal, a cry broke out and the voice of Ko' shoe!"
Ngai, as sweet as a bird's song above the thundering
fires, cried out, "For thy sake, 0 my father:'
And even as she cried, to everyone's horror,
she leaped into the molten metal and was
consumed by the roar of the furnace. "-
Kouan, Yu, wild with grief, would
have leapt after her had he nor been re,
strained by strong men who held him
until he (tinted and had to be carried
home like one who was dead. Equally
insensible with grief was Ko,Ngai's
serving maid, who had tried to grab her
as she jumped but had succeeded only in
clutching one of Ko,Ngai's pretty shoes, Rhythms

a tiny, dainty shoe, embroidered with pearls o/uj""

Dtadl
and Rowers . "- In spite of this tragedy, the 137

command of the Son of Heaven had to be

 Possession
Possession trance is the psychic comple-
ment of shamanic trance. Instead of the
shaman riding the drumbeat up out of his
body to the spirit world, in the possession
trance the spirits ride the drumbeat down
into the body of the trance dancer. While
a shaman is able to give a lucid account of
his or her adventures at the edge, the
possessed person remembers nothing; is,
in fact, an empty vessel that the god
temporarily fills.
Variations of possession trance can
be found in cultures around the globe, but
they have achieved perhaps their richest
articulation in West Africa. There an
ancestor spirit is known as an Ori,"a -
literally "he whom Ori [the head) has
picked out for distinction:' It is said that
anyone who does something so great that
it can never be forgotten can become an
Plaut!
DTllm
The woman dancer
138
is in a possession
trance, part of a
larger community
ritua l. (Ivory Coast,
ca. 1981)
Ori,"a. Some, like Ogun and Shango, samcria, and vodull . In America, where
have become so f.unous and powerful that the drums were prohibited for many gen-
their status approaches the godlike. erations, (his legacy of possessioll,rrancc
It is the drum that calls the Ori,/,a. dance rhythm was shorn of its spiritual
They are said to respond to different dimension, becoming instead jazz, blues,
rhythms : their signature beat guides them rhythm and blues, and rock and roll.
down into the body of the dancer to
assume control. Accompanied by
Some scholars connect the West the drums of the
vodun ritual, the
African possession cultures with the man at left is pos-
sesse d by the loa
ancient Neolithic mother goddess culture
(spi rit) of Dambala.
that nine thousand years ago stretched a snake spirit be-
lie ved t o be the
from eastern Europe into what is now the po s itive force that
Sahara desert. When the slave trade began e ncircl es the uni-
verse. [Haiti, 1946) ....
in the seventeenth century, this technique
of possession trance was carried to the
New World. In those places where the
Africans were allowed to keep their
drums , it mutated into candomble, ...._-------------~~-1
.' -
 DIVINE H ORSEMEN
III the ttrmiflo[ogy of
Vollda,,", i( is said that tIl(
loa "mOlmts" a ptTSOll, or ,IUlI
a persoll is utl/Olillter by tlU'
loa. The metaphor is drawl!
from a horse alld his rider Qlld
N othillg cOIlld be 1II0re strikillg ... thall the actiolls Qnd events which
the cOlltrast olle call observe alIIOI(g the remit are the expressioll of the
The drummer . .. lipon his very skllll; lit rico . .
becomes, to sOllie degree, the r",1S abolllllw periSI),lr,
arbiter of the loas orritlol .... rllllr"i,'! blilldly alll~ amlS
Whm the drummer ;s parti",..- which are extended to support
larly gift,d alld 0(111', I~ rail him, pirouettes wildly Oil Ollt
pmllit the tension to build to I,.g, reraplll'" balall" for a
jllsl Iii, l,v,l ruil", Ilw "break" brief 1110111",1, ollly 10 be
seTves trot to release ({'fIsiOIl bllt I",rll,d forlVard agaill by
to climax it ill a galvanizillg ",wi"" greal blolV all I",
slwck - tire first {'fIormOIlS arum. The drummer, appar..

Wolofof Senegal between the behavior

of the lIIaraboIlts who seek OIlt ecstasy
ill the silence, solitIlde, alld darklless of
their groltos alld that of the practitioners of
the ndiip, who enter illto trallce ill
the lIIidst ofadellse crowd, stilllIllated by
drillk, agitated by wild dallcil(g alld the
dill of dYIlllls.
GILBERT ROUGET
I",
ruill of rid" Sill" Iii, blolV of Ilw "break" - ",ilir" mtly impervious to the
I",
rOllsciollS self of t1~ possessed abrllplly 'lIIplies "rad alld embattled anguish of tht ptrsofl,
persoll is, meal/while, absellt, he leavrs one wit/lOll! allY cmter persists relentlessly; Imtil, sf/d. .
(omlot alld dOff Iwl remember arolilld which to stabilize. dmly, the vio/ttI!f (tasrs, the
I",
tilt eVfIIls; he is Iwl respolzsib!e, This is a sial, of Illipiess VIII, "rod of pmoll liflS, alld
,;t1~r for good or for bad; alld lI"obilily. IlIslrad of b,illg abl, one recognizes the strangely
he {allllot, as a pl'rSOIl, himself to move in the 101lg, balanced abslract,d ,yes of a b,i,'!lVlw Rhythms
bfllrjil frollllilal possessioll. strides of relaxatioll, the seems to Set beyond whatever ofLiJ"nl
Th, fill/ctioll alld p"rpo" of def",,,lw pmoll is blljftl,d by "e looks 01, as if illio or frolll Dtath
mel, diville manifestation is tlte each great stroke, as tht drum . . 01101"" ,,,orid. Th, loa wilir" 13.
rtasrurall(f alld illstrttctioll of tiler sets Or/t to "beat tht loa the SOt!,g had bern itwoking,
tire {omllumity. illto his head." The ptrsoll has arrived.
crillges with each large beat, as MAYA DE R E N
if I"e drlllll lIIallet descelld,d
 Carnaval!

Pandeiro. (Rio de
Janeiro . Brazil, 1981]

A ritmista (m usician-
dancer) twirls a Camaval is a party, a parade, and a festival meat" and is the only aspect of the festival
pandeiro. (Rio de
Janeiro, Brazil , 19811 all rolled into one. The week before Lent, that's derived from the Christian tradition
Pia/ttl
Drum the inhibitions and daily cares of life arc of Lent; everything else comes from
140 forgotten and people hit the streets for an ancient African and American Indian fer,
endless round of drumming, dancing, and tility and planting rituals onto which the
drinking. The name camaval comes from Christians grafted their pre,Easter rites.
a Latin expression meaning "to take away
 Surdo. (Rio de
Janeiro, Brazil, 1985}

Fest ive celebrants

RhyrhntI
ojIJjr"d
Dtath
141
 Some form of
carnaval is cele-
brated wherever
the Catholic festival
of Lent is observed.
[Port of Spain,
Trinidad,1888]

Pltmtt
Drum
142

The cuica, friction

drum, is played in
tandem. (Rio de
Janeiro, Brazil, 1981)
A surdo - a large,
double-headed
metal drum - is
played at carnaval.
[Rio d e Janeiro,
Brazil , 1981 J
 CHAPTER FOUR

145

Taiko drums. played

by members of
Kodo. (S ad o Island.
Japan , mid-1980s}
 HE SKINS AND LACINGS, THE WOODEN BODIES -
these were not made to endure. Dampness swells and cracks
them. The paint fades. Fire destroys them in seconds. Conse,
quently, we have few percussion instruments that are more than
two hundred years old.;" Yet enough remain to illustrate our
ancient desire to construct a varied soundscape around the
simple acts of striking, scraping, shaking. Some of these instru,
ments are gigantic, like the huge slit/gongs, the volcanic rock
harmonica, and the bass drum that is bigger than the tallest
man. Some were made to adorn the houses and palaces of the
rich and powerful. Some tell a symbolic story. Some set a beat
for tribes or villages to dance to, some provided music for thea,
ter, a feast, a celebration. Some sounded only in the most august
political or religious rituals.;" Nearly all of them, from the
plainest rattle to the most ornate ritual drum, were made to be
played by hand. Except for bells, these percussion instruments
remained human/scale, imaginative extensions of the human
body that mirror the universe of rhythm surrounding us. ;";"

.'
 Membranophones

Membrallopholl, - literally "skin sound"-

is a Latin word and a Greek word com,
bined into one. It describes the instrument
made by stretching a skin of animal,
vegetable, or man,made material so that
when it vibrates it produces sound. Tom,
tom, timpani, tambourine - almost all
drums fall into this class.

On e of the largest
double-headed bass
drums in the world
was made for Walt
Disney Productions
by Remo, Inc. This
enormous drum,
10% feet tall and 40
inches wide, dwarfs
manufacturer Remo

~- ..-E1! Belli, sh own play-

ing the traps. [Cali-
fornia , 1961)

StulpturtJ
oj Sound
147
 The pahu, a dance
drum, accompanies
religious dances at
outdoor temples.
The arches in the
base probably rep-
resent mythological
supports for the
sky. [Hawai i, probab-
ly twenti eth century)

DHARMA D RUM

1l~ big drum, (ailed ngo, is

round to symbolizt tI~ uni-
verse, and empty willJin to
symbolize t/~ dharma (teach-
ing), When we soulld the
drum it symbolizts spreadillg
dlklrma throughout the IIIliverre.
A dragon and a calfare painted on
tilt frame of tilt drum, T/~ dragall
rdaus to the biggest sOlmdr, tlllm..- The drum-
d"illg [oud[y all over t/~ ullivme. harmonica was
The music is to attract the a novelty item
advertised in a
attmtion ofthe deities, and to give mail-order catalog
them pleasf/re. Deities exist on a early In this century.
larger scale IlkllI Immatlf, and we The sound of the
try to mterla;'f them with appro'" harmonica was
amplified by the
priate mllfic. shell and membrane
W, a[ways say its like of the drum. (Un ited
IUlvillg aff important gllest ill Offer States, ca. 1906]
IIollre, mell as aking or nobleman.
You greet them polite[y, give t/~m
a (oo[ drillk, off" some fruit, sit
dowllJor somefood, alld t/~1I
provide mllsic 10 mlertain them. tltem your prayerful message, and
OIl[Y fat" do you askforJovors or smd tllflll away 011 thlir misrioll -
P!Dntl assistance. Entertainmrntjirst. filCh as prouctillg all lil/ing beings,
Drum T/~ purpost oftl" rituals plltting astop 10 war, hunger, or
14. is to hast t/~ ddtits proptr[y, to similar beneficial action.
mtice them into YOllr IlOlIse, TARTHANG TU LKU

mttrlain tI~m, tI~lIjillally to give

The def; (tambou-
rine with jingles) is
played at many
community celebra-
tions . [Greece, twen-
tiet h century]

daouli are fre quent-

ly of different thick-
nesses, so that the
side struck with a
heavy stick yields a
deeper tone than
the side struck with
the much lighter
switch. (Cre t e,
Greece, twentieth
century]

The design on this

two-headed antique
temple drum fea-
tures flowers and
the eight primary
trig rams of the
I Ching. (Korea, nine-
teenth centu ry]
Scufp/lim
oj Sound
1'9
 J

Leonardo da
Vinci sketched this
mechanical kettle-
drum that would
beat continuously
when pulled along
in a procession.
[Mil an. Italy. ca . 1490[

As a symbol of
peace and friend-
ship. Japan sent
this ornate o-daiko
drum and stand to
.... This Persian the Vienna Exposi-
dombak, covered tion of 1873. It was
with geometric not intended to be
and symbolic inlay, used as a perlor-
was probably a mance instrument.
royal or court instru-
ment. The dombak
is the most impor-
tant percussion
instrument in
Persian traditional
This drum sits on music. The head is
PhJnlt the head of a man usually fish or ani-
Drum who sits on a leop- mal skin. The body
150 ard. A child sits on is ca rve d from a
the lap of the man single log. {Ira n ,
and both play on probably eighteenth
a small drum. (Viii centu ry]
p eop le, Loandjili,
Zai re, nineteenth
century]
.... The eagle/human
figure decorating
this huehuetl prob·
ably represents
Quetzalcoatl, a n
Aztec deity who,
with an eagle's aid,
founded Mexico
City. [Ma linalco,
Mexico, fifteenth
century]

... Drums of the

coasta l Se n ufo are
known for their
elaborate carving.
The a nim a ls and
humans on this
pliewo are fa milia r
characters in Senufo
cosmology and are
see n in m a ny of
their d e corative
arts. [M a li o r Ivory
Coast, twentieth
centu ry)

Swlpturu
oJScmld
151
 A drummer gives
the rhythm to a
tree. (Gere people,
Ivory Coast, 1964J
Making the Drum
Because they can animate the voices of
otherwise mUle materials like wood,
bamboo, stone, goutd, bone, and clay,
musical instruments are often treated as
power objects, and the people who make
them are seen as guardians of great and
mysterious secrets. Consequently, the
process of making an instrument is onc of
ritual precision, characterized by offerings
Pkntl
to the spirit of the tree or animal whose
Drum
152 pam are being transformed.
The technology employed in
making musical instmmcnts is frequently
the most sophisticated known to the
Before the drum
making can begin,
the maker must
offer a blood sacri-
fice. [Dan people,
Ivory Coast, 1964]
culture - such as the techniques used for
casting the large bronze bells in ancient
C hina or the meticulous attention that
many cultures pay to the tanning of the
animal hides that will be used as drum,
heads. While found materials such as
naturally hollow logs may be used for
drum bodies, more often the wood is
selected for size, grain, toughness , resis/
lance 10 cracking or warping, and other
acoustic and s[[ucmrai propcrries. It
is then aged approprialely, hollowed,
and carved.
Great care is given
to each stage of the
making of the drum.
(Dan peop le, Ivory
Coast, 1964]

';- '.
 The bullroarer is most often made from
Bullroarers a Aat piece of wood, bone, or metal, with
an attached rope. The player swings the
bull roarer lasso, like over the head, which
causes the instrument not just to revolve
A bullroa re r in
around the musician, but also to spin action ove r a
quickly on its own axis, producing an in, corpse at a funera l.
[Sen ufo people, Ivory
comparable humming or buzzing sound. Coast, 1965]

BULLROARER

The bullroarer, mllicll is a

,/tiM'; toy in ollr mltl/rf, still
figl/res as all important sacred
object ill Ocrallia Africa, alld
l

America.... Saglio dtes a text

thattalh oj 'a nllall piece oj
wood ... fuhi," is shakm iI, the
air to make it make lIoise';· this
WQS certainly a blillroarer; QI/d

probably th, rllOlliboi f/"d ill

the mySftrifS ojBacchlls olld
CybeJe. But these atfciftlt texts
dOll't distinguish it IUrI/from its simpletoy, or. as ill Malaysia, Iwrthem New Guillea bllild a WarramlfllJO of Allstralia
oth"forlll, th, diabl" ali,tI, something to Scare away wild /1111 thirty IIINfrs long ill the tel/ tllO' "tll'Owild dogs, havi,tI
disk ofwood, stOItt', or /lIf'fa! ,I.,
beasts alld ,I'phallls, bllll, SIWPf ofa 1/I0/lster: "The Ilt'ard the sOlllld made by
with 'wo '10/" thrOltlh which a roaTff isaparticularly taboo momlotls crfatllreproduCt's a Mllrtu . . llIl1rtli with his mOllth,
string is passed that twists and objf'Cl- excrpt ill extrclllrly ferociolls grmulillg, which is jllmped 011 him alld tore him to
III/twists as Ollt' pI/lis all tilt rare (QJfS- strictly hidden /lothing otiler tl,alllile soulld of pieces, which they threw ill all
mels. This twisting mOllemellt frolll wOllli'll alld IfOllilliriatfS, bllllroarers being SWllllg by directions. These piecrs, will'll
{Qllst'r thedioble to Talolf alld that is beliclIf'd to emit the voiu lilt/! hiddell ill ,he belly of rI, they split the air, made a sOlllld
make its growling sOlmel. ofaspiri'. beast:' idetJIijied aile place with lik, ,hat of'h' bul/roar,,"
Womell ojollliqllily IIsed this 111 Australia alld New th,. SOl/lid of the mOllster, othl'r This myth of creatioll reminds
itutmmt'llt as a IOIIt' ,/tarm. I II GllillfQ it is the voice ofaIIIlm.- places with th, cryoJthe liSoj the killsJ,ip betwetll the
all oJ/heIe (am if is all ;Ilstru'" ster ,Ira' will carry off)'Of/lig largest masque, till' sOlllld ofthe boolllfTImg alld the bllllfoafer,
IIImt tlull rotaUs alld makes a }JfOplf, fat them alld spit thrill bl/Uroarer is fiJI/ally associated eitl,ef that the bl/Ilroaur was
IlfImmilJg sOlllld. back out ;1110 lift IIIfiamo,.- with the /Joice of'he allct's/ors. origillally ill tilt slrape oja
We have lW ,hoia bllt to phased illta IIIfII, that is to say, It is the gramlfathet; the spirit b"o/llerm~ or rise that bull. .
be stmck tllO' nlch difftrellt cirmmcisrd alld ;nitiatea. Ollly oftlu' dead, alld ill CamerooJl it roarers were Spl/II witlwllt
Cfliwrfs attribllU' POUItT to rlu' illitiatl'S know lllat the lIoise ill is Mil kep' with th, skulls of nuaelled strings.
sOf/lld oja'hill disk orfish, qJfestion (om('$ /rolll asimplr the IIlIcestors. ANORI:
shaped object beillg rotated. /11 bullroarer. Certain tribes if Abollt tlu' illllelll'
SCHAEFFNER

pIous where it !tam't br(Olllf a ,ioll ojrile bullraarer, th,

 "

;, .'.://''. '.~j1i~i:~;.:~~~,
, ",
;,.~:~:. ""~~;""~1! ~ \;it:-,,,;~;:/ ;
',:
~ ~
.
..
;".~ ~~
"",~
~, -.~
..;,~.:~.~f,f?'" , '.' ':'"
•. • • ," • • ,- ,,'< " ".,',;~,.!:;,".r,;E,?·.: '.; :,' :. ·~rJ ', ',".' :< "..
. : ; •.
.o' .' - : - !'" '.
'f

" ',.,:~'.
. ' • •

~;'.>: -....~'

~y~~~,
~;"" : -'-., .
,~ t!t..., • BULLROARER NAMES
Say the lIames aloud. Lisu" to tIl( fOlmd.
NAME REGION NAME REGION
....;1'·(.. "'

abume Tiv p,ople, Nigeria kode Malliuka peoplt, Gllillf'Q ~~1:Z~~' ".' 'l:~ ." \~
!..~{!;l. • d ,. ~ .~
arib IriallJaya, PapflQ New Cui/,eQ kundrukundru Adoi, Amal(ga, Alld,bogo, alld

f~~~
arumvurumvu MamvII people, Zaire Alldowi p,oples, Zaire
atuamba Kuma people, Zaire kunzukunzu Aimer; people, Zaire
",; ';(... 1. balum Bllkallo alld ¥ahem peoples, Pap"a kwese Dakakari people, Nigeria
New Guillea lil han Bilka, Solomoll Islallds
baranga Vere people, Nigeria luvuvu Kiwoi people, Pop"a New Gllillea .;" .}.~~:' .~~!:::;:.

i1~~:~~1~1
bimbi Sallgo people, Zaire manggaslcng Minallgkaboll, West Slttllatra
bora Borli people, Pap"a Nelli GuilleQ mbirimbiri Mayogo people, Zaire
boragas LitllllQllia, Soviet Union ngcrundo Nalldi people, KellYo
bruklys Litllllollia, Soviet Ullioll ngosa Ka; peop/f, Papua Nelli Guillea ~' .~%,:>-q,1i'~~

bui Mawa; people, Pap"o New Guinea Deoe Hawaii "

~.: ~. ::-
buro Florida Islolld, Solomoll Islallds oro ¥aruba people, Nigeria olld Bfl/ill .. r ",

burubush Klroiklroi p,ople, SOlltlr Africa oupa Nyali people, Zaire

burunga Mario people, Madlrya Pradeslr, Illdio Qwcr,owcr Central Java, I"donesia
burkidis LithllQnia, Sovirt UI/joll pccr boor cgah AIIS/ralia
cri de la belbmere FrOliCi' puu[QrohulI Maori people, New Zealalld
dengeng-dengcng Batak Toba district, No,tlr SlImatro riwi,riw i loco
,A !" fi,~'
Nias, Indonesia
diable des bois FranCf rofla Limolls;", FranC(
.lk~::I' .\lr ·
egburuburu MamvII people, Zaire seburuburu Tswana peoplf, BotswDI/O

~'i5~'
epop KOITtle, Caroline Islallds sevcvu SOlltlr,,,, Sotlro peopfe, Leratlro
ereg. . ereg Central Java, Indonesia sosom Mariudal/im af/d IilJeri peoples,
gilingwa ZOlld, people, Zaire Paplla New Guillea
~. _¢t'"~l't~i
gorngorng 50'1 prople, sou/hwes/em Africa rangalop ToI(gO Islalld, POP"O New Gllillea ~ e·~'$,·~JfJ.:
guev Nortlr BOI(goillville, 5010///01/ Islol/ds rarabilla Argf'llfillQ
~~'iJi,~'. gueyoumo KOlla people, Guinea tepoamm gongu l Papua New Cuillea
If}::~~''':: hevehe Orokolo people, Papua Nelv Guillea uparu Toaripi people, PapJ/a New Guinea
" .- . imilluraq bUIlt people, Cal/ada romlulur Tal/ga Is/alld, PapuQ New Guinea
mana Mbol, people, Zaire rshihwilili Vel/do people, So//th Africa
pra E"de regioff, Flores, 1m/ollflia (sinidi'ni' Navajo people, UI/iud States
Juca Nicaraglla [Uambi KfHIIO people, Zaire
kabara Achipawa people, Nigeria ual ual Mohave Apache people, UI/ited Stales
kani Tami Island, PapuQ New Guillea umbubu Orokaiva people, Papua New Guillea
kckinciran West Java, II/donfsia wer ... wer Central Java, I"donesia
kgabudubudu Pedi people, Lesotho wuwu Koko people, Papua New Guinea
khabulubulu SOlllherll Sotho people, Lesotho zugarryu HIII(gary
ldiophones Idiopholle is the general term for musical
instruments that "produce their sound
from the substance of the instrument itself,
being solid or elastic enough not to
require stretched membranes or strings:'
says Groves Dictiollary oj MlIsi(ailltst""
1IIeI/ (S, Slit,drums, castanets, bells, gongs,

scrapers and ratdes, the glass harmonica

and other oddities, all are members of this
huge group of musical instruments,
Kyi-ts;' a bronze
percussion pla que
struck by a woode n
mallet, is used in
Buddhist cere -
monies. Its sound
is associated with
tranquility and
p eace . (Rangoon,
Burm a. 1923] Zen Buddhist
priests, two hold-
ing inkin hand bells.
perform a cere-
mony. A mokugyo
temple block is at
right, a kin bell at
teft, [J apan. 19600]
 Said t o be one
of conquero r
Hernando Cortes's
war trophies, this
e la borately carved
two-toned tepon-
aztU may depict an
Aztec leader. The
attribution is doubt-
fu l because the
hands, face, and
glossy finish all
appear to show
European influence.
[Tlaxca la, Mexico,
ca. 13501

Usually an abstract
d e piction of a fish,
a Chines e mu yu
t e mple block sym-
bolizes watchful-
ness. It se rves as
tim ekeep er in Taoist
and Buddhist ritual
in China, Japan, a nd
Korea . A t ra ditional
bowl-sh ape d be ll
is seen at right.
[Huangsha n Moun-
tain, Taiwan, 1980]
 This African rattle
is made of millet
stalks strung around
a calabash. [Savan-
nah region , W est l
central Africa, date
unknown]

The drive to create, perform alld

reproduce mllsic is COIIIIIIOII to all mall'
killd. A drive so basic that when amall
(aIlliOt filld all illstmmellt to SHit him,
he creates his OWII.
JOSEPH HOWARD

The smaller pair of

these sets of hand
cymbals is made of
nickel.plated brass
and the larger of
bronze. [Greece,
twentieth century]

This shaman's rattle

is made In the shape
of a raven . [Tling it
Phmtt people, Alaska, date
Drum unknown]
158
A slit-gong carve d
from a n enormous
tree was placed in a
fi e ld outside the
royal pa lace and
beate n to announce
war, to gather the
pe ople, or to ac-
compa ny festiva ls_
(Bam um people,
Foumba n, Cam·
eroon, ca. 19031

This peyote gourd

(rattle) and parrot
fan are used in
Native American
church ceremonies.
IM a d e by Richa rd
Dobson , Califo r·
nia, 1987] '"

Swiptllru
ojSJwra
159
 A nin eteenth- after 13 years '
century British incessant labour
handbill proclaims: and application
Richardsons' from rocks dug
Original Monstre out of the mighty
Rock Band Skiddaw in Cumber-
Inve nted and land /1827-40)
manufactured by
Messrs Richardson
and Sons

A blind woman,
Angelica Kaufmann,
plays the armonica,
or glasschord. an
instrument invent-
ed by Benjamin
Franklin. Music was
composed for it by
The gourd water~ Mozart, Beethoven ,
drum consists of an and others. (Engrav-
inverted half-gourd ing by anonymous
floating in a larger artist, Germany, 18191
half-gourd partly
filled with water. Frolll aile lIIaterial to the lIext, the
The smaller half-
gourd emits a clear cOllstmctioll ojillstmments eventllally
and low-pitched
tone when struck. embraces all ojllatllre_ As Combariw
[Malinke people,
Papua New Guinea,
remarks, mllsical illStmmCllts pllt illto the
second half of twen-
tiet h century]
hallds oj the magiciall "parcels ojall the
killgdoms ojllatllre: they are made oj
rosewood or bamboo, pods oj certailljmits,
metal, hardwood, SOllorOIlS stOlle, mlimal
Pknrl
Drum skills, shells, balle, hams, silk, twisted
160
raffia, tendolls, gilt ... ; they cOllstitllte a
sllmlllary oj the cosmoS:'
ANOR~ SCHAEFFNER
 Using their cupped
hands to strike
the water, these
'Are'Are women are
having fun creating
The shillillg water that 1Il0ves ill the complex rhythmic
patterns. [M alaita,
streallls and rivers is I/Ot jllst water, Solomon Islands,
mid-1960s1
bllt the blood of ollr ancestors.... The
waters IllImllllr is the voice oflllY fathers
]athel: The rivers are 0111' brothers. They
qllfllch 0111' thirst. They carry 0111' calloes
alld feed 0111' childl'fII. So YOlIlIlIISt give
to the rivers the killdlless YOllwoll1d gille
allY brot/let:
CHIEF SEATTLE,
SUQUAMISH PEOPLE

When bells were

not allowed to ring.
this ratchet was
sounded in church
during the Holy
Week remembrance
of Christ's betrayal,
crucifixion. and
resurrection.
[France, ca. four-
teent h century]

Noise-making per- frightening away

cussion instruments malevol e nt spirits
- like the ratche t, or attracting be- S(JI/plllr(J
afSolilld
bone s, castane t s ,
whirring disc, and
nevolent ones.
(Europe, nineteenth ,.,
xylophon e - have century]
long bee n b elieved
to dispe l evil by
 Bells, Voices of Metal

Crack two sticks together. Strike skin - and the Christian West. Elevated in
either your own or that of a drum - with towering church steeples, high above the
the palm of your hand. Shake a rartle. busy streets of medieval Europe, bells
Beat a hollow log. The unity in the sound became the primary pulse of the city, the
of all these percussive acts is transformed timekeeper, the community heartbeat.
when the material becomes metal. It is said that travelers would weep
The bell is a mutation of the with happiness when they heard from Frogs, horse-back
drum, one that has gone on to achieve a a distance the familiar sound of their riders, and a bir"d
ring this elaborately
different kind of percussive grandeur. hometown bells. engraved bronze
drumhead around
Whereas the sound of a drumbeat sprays In the Christian West, the sound
the central star.
out in a wide range of frequencies, rhe of the church bell supplanted the sound of Frogs, harbingers
of spring, are con-
"bong" of a bell or gong vibrates in sev- the drum as the channel of the spirit. The sidered symbols of
eral narrow ranges, one high-pitched and resonant roar of the bell was our metaphor fertility by many
cultures. (China,
clanging, the other low and droning. This for the voice of God. ca. 200 B.C.]

last effect, that long low drone, is what
makes the bell an indifferent instrument
for articulating rhythm, but a wonderful
one for producing loud and lengthy noise.
Sounding metals are found all
over the world. Wherever metal technol-
ogy took root, the culture produced some
form of bell or gong, ranging in size from
delicate pebble-sized bells to the mon-
strous Tsar-Kolokol of Russia, at 433,000
pounds humanity's greatest achievement
in bronze casting.
The fascination with big bells
was particularly strong in East Asia
Huge bells do not drive the body
to dance, but they do seem to activate
certain emotions. The low drone, for
example, is said to impart a feeling of
tranquillity, awe, and finality, while the
high-pitched clang appeals to another
order of emotions. Together, this har-
monic mix is said to clear the mind, uplift
the spirit, and invite a look to the heavens
for guidance and communion.

Planet
Dmm
,.2

,. ... ../ :·4

, .", "',

....
,.-:
.~. '
'J'>
Tumbaga, the are made of an
small (less than two alloy that is 30 p e r-
inches high) gild e d cent gold and 70
b e lls of the Incas, percent copper.
(Colombia, early six-
teenth century)

This anthropomor-
phic cast bronze bell
is from the kingdom
of Benin. [Nigeria,
probably eighteenth
century)

Stu/plum
ojSoumJ
,.3

,- - ---
Pumtt This e le g a nt bos sed are often cere·
Drum gong fe ature s three monial, used as
' 64 dra gons, w hic h in dowry or for similar
Asia symboliz e the social exchanges
p o we r and the be· of wealth. [Brun ei,
ne fic e nce of na ture . date unknown ]
In Ma laysia, gongs

~" " .. "i •.}

.... " "
- \ ....
"
~, "
,;
The dramatic vista
of bells in Hamburg,
Germany, during
World War II, vividly
demonstrates the
continuing relation
between bells and
cannons. Bells
served as a reposi-
tory of refine d
metals that could
easily be me lted
down and recast as
weapons. More than
100,000 bells we re
collected at the
port of Hamburg.
 Geiji, small crotal
bells, are tied to
During the four~ leather pads and
tee nth century, used for rhythmic
European metal accent in ritual
foundries adapted dance. (Ambalan-
bell~castlng tech~ goda , Sri La nka,
nlques to create d ate unknown]
"bombards:' th e
first cannons. The
early weapons In
this illuminated
manuscript look
very much like
upturned bells.
[Europe, fifteenth
century]

Two drum-shaped nails show how

bronze sculptures the heads were at-
from ancient tached to wooden
China have been bodies. Intricate
unearthed. These geometric patterns
sculptures imitate and stylized animal
wooden drums: the masks spiral across
"drumheads" have both drums. (China.
been worke d to 1400-1100 B.C.]
resemble alligator
skin, and s culpted

~!~~(f~ '(:;~" '"

I,,,"
:'(: " '. ,

The founding of the Tsar-Kolokol is the
The critical moment
in the casting of
story of heroic invention and incredibly
a bell has arrived bad luck. In 1730, the empress of Russia,
as the stream of
molten bronze is Anna, commissioned the casting of a bell
poured into the pit.
that would dwarf all previous bells, not
[Yaroslavl, Russia,
late nineteenth just in Russia but in all the world. The
century)
empress desired a bell that would surpass
the greatest cathedral bells of Europe and
the magnificent temple bells of Asia.
The commission was given to
Ivan Motorin, Moscow's master bell
maker. For four years he worked on this
bell, aided by 180 workers . Over 350 tons
of metal were melted down in prepara-
tion, but disaster struck on the night the
bell was supposed to be cast. Three of the
furnaces that were being used to heat the
metal burst. The molten bronze Aowed
out, quickly setting the building ablaze,
creating an inferno that destroyed every-
thing. Brokenhearted, the master bell
maker died the following year.
In 1735, the commission was then
taken up by the bell maker's son, Mikhail.
It took him a year to reduplicate his
father's efforts. On the night he was ready
to make the cast, fout hundred Moscow
fite fighters were standing by, just in case.
This time the furnaces held. The molten
metal was brought to the proper tempera_
ture and poured into the huge mold of the
largest bell in the world - ovet nineteen
feet high, weighing a staggering 433,000
pounds. Mikhail felt he had vindicated
his father's faith in the possibiliry of
founding a perfect bell of unparalleled
size and weight.
But the casting was only the first
step in the making of such a mammoth
bell. For two years Mikhail labored over
the preparations to raise it from the pit in
which it had been cast. One night fire
broke out in the ciry of Moscow. Within
hours, much of the ciry was in Aames,
including the part of the Kremlin where
the huge bell lay.
Soon the wooden shed that stood
over the pit was ablaze. Burning timbers
began tumbling down onto the bell.
Firemen came rushing up with water.
When the ice-cold water hit the red_hot
surface of the bell, the meral expanded,
popping off an enormous chip, as tall as
one man, as wide as two, and weighing
approximately 26,500 pounds.
SeU/pIUrtS
The bell, which had acquired the ofScunJ
name Tsar_Kolokol (meaning "emperor 167
of bells"), was silenced forever.
 Its creator, Mikhail Motorin, died
in 1750. For another eighty years the bell
lay in the subterranean darkness of its
casting pit, nearly forgotten . In 1836 the
French architect Auguste Ricard de
Montferrand was commissioned to raise
the giant bell and erect it as a monument
to the power of the Russian rulers. A5
throngs of astonished citizens watched,
Montferrand and his assembled work
. 1.
~--
Jl!l ' " ',
Planr/
Dmm
16.
force of hundreds of soldiers and carpen'
ters, successfully raised the Tsar,Kolokol,
"like some enormous armored creature
emerging out of the earth:' With enor,
mous effort, the bell was rolled on logs up The damaged
to a granite pedestal and the "chip" was Tsar-.Kolokol after
it was raised by
propped against its base. Montferrand in
By 1849 the interior of the Tsar, 1836. Since that day,
it has remained a
Kolokol had been consecrated as a chapel silent monument.
[M oscow, nineteenth
and Russians could enter into the bell's century]
enormous cavity to worship. It stands to,
day in Kremlin Square, colossal testimony
to humankind's obsession with bells .
.....
 Skulls

Used in funeral
ceremonies by a
high priest of the
Abakua. a mystic
brotherhood, the
human skull drum is
mounted on a base
of three tibia bones.
The lise oj bones, especially '/tIlllan bone, [Cuba, ca. 1850J
or other parts oj bodies oj hlllllans or
certaill other atlillla!s: skin, hom, hair,
bristles,jeathers, si!lew, gilt - exhibits
another source oj the relation between
instrulllent makillg and Inagic. It seems
obviolls that whistling throllgh aIlIlman
[enllir or tibia, or IIsing thelll to beat a
dYllm, IIlIiSt have sOllie injlllflice on the
sOllnd prodllced or on the persollwho
prodllces it.
AN DRt; SCHAEFFNER

Plaut!
Drum
l10
 Bllddhists dOli 't glt III/Ilg lip 011 allcestral
thillgs. Bllt all il/lportant reasoll that we
lise bOlles - both allilllal and hlllllall- ill
Two small damarus.
illStYIIllllllts mch as the damaru, the
one mad e of halved thigh-bolle trlllllpets, alld ill illlplelllellts
human sku ll s, the
other of wood. mch as sklill bowls, is to serveas cOlltill-
[Tibet, late nin e-
teenth or ea rly twen- lIal relllinders oj illlperlllalllllce alld the
tiet h century]
illllllediacy oj death. Yoll kllOlV that death
is close by, and that death is all advisor.
Alld YOII realize that YOllr OlVll bOlles will Sculplllrts
evelltHally be like this. Therefore, olle oJScuttd
171
leams to seek the esselltial ill life, realiz-
illg the illllllalllllt presellce ojdeath.
TARTHANG T U LK U
CHAPTER FIVE

173

Sistra. [Lalibela.
Et hiopia, mid· 1980s)
 , .. t

,'. I.' .:", '.'

BE MOST TIMID OF US FIND MAKING A LOUD

noise on a drum intensely pleasurable. Wow! That was me -
roaring like a lion! Drums are great instruments for building self-
esteem. You can be loud and aggressive, using your whole body,
and it's okay because you're not fighting or harming anything,
you're just drumming. And if you keep it up for twenty or thirty
minutes you'll probably feel very calm, very centered - a kind of
drummer's high. '" But drums are more than just the means to
make a loud noise. They are also tools for exploring rhythm, one
of the deepest mysteries in the universe. Science has taught us
:~.,. .,,\ that we live in a rhythmscape in which everything is pulsing in
" '

time with everything else. Every atom, every planet, every star is
vibrating in a complex dance. We live on planet drum. ,., And
human beings, as multidimensional rhythm machines, are also
embedded in this universe of rhythm. As a species we love to
play with rhythm because it seems to connect us to something
fundamental in the nature of reality. We deal with it every second
of our lives, right to the very end, because when the rhythms
stop, we die. ,., These images are a testament to planet drum - to
the magnitude of our pleasure at being able to control noise rhyth-
mically. They reveal the joy, the agony, the power, and the mas-
tery that is fundamental to the experience of percussion. Intent,
totally focused faces contorted in concentration and effort - thus
has the brotherhood and sisterhood of the drum maintained its
beat throughout the ages. ,.,,.,,.,,.,,.,,.,,.,,.,,.,,.,,.,,.,
 South and Central America

G uiz os, pl aye d by

Flora Purim of
Brazil. [S a n Rafae l,
California, 1981)

Be rimbau a nd
175
cax;x ;, pl aye d by
Bira Alm e id a of
Bra zil. [Berke ley,
C alifornia, 1983)
Pans (steel drums).
(Trinidad , late 1980s(

Tinya. [Hu ancavelica,

Peru , 1978)

Timbales, playe d
by Tlto Puente.
[San Rafael, Ca lifor-
nia, 1984)
Europe and North America
Quasimodo (Charl es
Laughton) l eaps
This Fre nch drum- to embrace his be-
mer was also the loved bell in the
executione r of Louis cl assic film The
the Sixteenth. Hunchback of Notre exhausted. He Jate r
(France, nineteenth Dame, based on said, "I couldn't
century] Victor Hugo's 1831 think of Esmeralda
novel. Th e bell- in th e s ce ne at a ll. I
ringing scene was could only think of
s hot just after the poor p e opl e out
England and France there, going to fight
had declared war on that bloody war! To
Germany. The ten- arou se the world, to
sion of the coming stop that terrible
war fi ll ed the sound butchery! Awake!
stage. At the end of Awake! That's what
the scene Laughton I felt when I was
kept on ringing the ringing the bells!"
bells until he was [United States, 19391
 Medieval steeple
bells pealed to ward
off the threatening
sounds of thunder.
Hapless bell ringers,
lik e the bell ringer
of St. Pol-de-Leon in
Brittany, were often
e le ctrocuted. A law
finally was passed in
Paris in 1786 to for-
bid the practice of
ringing bells during
e lectrical storms
after 103 bell ring-
e rs had died from
lightning strikes
over the previous
thirty-three years.
[France, 1718)
The Beam, played
by Mickey Hart.
[Un;ted Stat es, 1990)

The Greek mathe-

matician Pythagoras
plays the mono-
chord, a medieval
"Beam:' [Mila n,

Ita IY' 1492)~~~~~~~~~~~~~~~~

 Side d rums. played
by t he City of Los
Ang eles Pipe Band .
[Los A ng eles, 1989)

Plantl
Drum
180

Washboard, played
by John "Mambo"
Treanor. (Sa n Fran-
cisco , 1990)
Tap dancer Skip
Cunningham taps
out a rhythm in the
1984 movie, The
Cotton Club.

PU:tIlt
Drum
Snare drums, 181
played by the UCLA
Drum Line. [Los
Angeles, 1989J Tambourine, played
by Layne Redmond.
[New York , 1990)
 .
•
-
(.

" Barrel drum, pl aye d

by a Diegueno
Indian. (Ca lifornia,
19091'"

A. Barrel drum at
Taos Pueblo. [New
Mexico,1907)

~ .:.-

.'\
\V-
r
,
Gk. - ...
Sonazo sistrum
and cocoon ankle
rattles, played by
a Yaqui Indian.
(M exico, 19401

Barre l drum at
Laguna Pueblo.
[New Mexico,
co.19101

PUlIItl
Dmm
,.3
 Nearly a century ago, in the parishes
around New Orleans, people began
dancing to the new beat of jazz and the
blues. Military drumming was too rigid
lO power these new rhythms. In their
search for an answer to this problem,
drummers began ransacking the percus-
sive inventory. They took clements from
all over the planet - snares and bass
drums from Europe, the tom-tom from
China, cymbals from Turkey - and
along with such homely additions as
cowbells, anvils, and woodblocks
invented a new kind of drumming, and
almost incidentally, a new instrument.
This hybrid was known as a
"contraption;' later shortened to Utraps~'
Within twenty years virtuosos of the
"traps" emerged, people like New Orleans
jazz great Warren "Baby" Dodds, who
worked with a bass drum, a snare, four
cowbells, a cymbal, a lOm-tom, and
a woodblock. By the time the jazz age
caught hold in the twenties, drum makers
like the Ludwigs were already marketing
formalized versions of the trap sets that
drummers like Dodds had put togerher.

PLmn Gene Krupa

(1909-1973). (United
D rum
Sta tes, 1956]
184
Chick Webb (1909-
1939). (United
States, ca . 1937]
 Buddy Rich (1917-
1987). [United
States, 19505]

Chico Hamilton
(b. 1921). [United
States, 19505)

Loui e Bellson
(b. 1924). [Los
Angeles, 1989]
 Ginger Baker
(b. 1940). [Engl and.
19805J

P/cntt
Drum Billy Cobham
'.6 (b. 1944). [Cagliari,
Sardinia. Italy, 1978]
 Keith tJ\oo'f'l
\,947-1978) .
\LOnd on .o•. 1975\

R,09 0 Staff l nd
lb. ,940). \Eng • .
0 •. 1966\

P~"' t
Drum
,.7
The Near East

Tars . [Doh a, Oata r,

19881

Tabl and f rame

d
brums, played
y the Fatimah
Shaddad
E M uSlcal
.
"semble. (Doha
O a ta r, 19881 '
 Drummers and
dancers. [Teda
p eople, Chad,
A frica, 19705 )

Heating the tars

to tighten their
skins before a per-
formance. [Doha,
Qatar, 1988]

:
Africa

Drum orchestra
of a Bantu chief.
[Baule people, Ivory
Coast, 1965J

Barre l drum.
[West Afri ca, date
unknown1
Shekere-type
ca labash rattles.
(Baule people, Ivory
Coast, mid- 1960sJ

Likembe. (Luand a
regi on, Angola, d at e
unk now nJ
LiSTENING
7/,", are dijffT"'l ways of
listening to IIf11S;e. There is
atechnical staff whm a
pmoll who is drveloptd ill
uclllliqfu and luu [raTllt to
appreciate hmer nlllsic.juir
dislurbed by alower grade of
mllsic. Blft there is a spirit..
1101 way, which I"" lIolhing
10 do will. I'''miqllr. II is
simply to (11m' olll'selj to tIre plantS. TJ,,,, is
mllsic; therefore the spiritual ,JOlhing bmer llJOn
person does flot worry about
I/~ grad, ofI/~ music. No
doubl, d~ bmrr I/~ /IIusic
I/~ more helpful il is 10 a
spiritllo/ persoll; but at the
same time Dill' must 1Iot
forget t/~rl' are u,mas in
Tibel wi" do d~ir COIl"II'
(ratiollS at/d meditations
while mOllillg akind of
rattle, the SOl/lid ojwhich
is ,wi specially /II,lodi,
Of/SoTlry (uit;uote
I/~reby 11.01 SfIlSf
which raises apersoll
by II., lull' of"ibra,
lioll 10 lhe higlltr
mlls;c as a "'taIlS
for I/~ IIplifl/ll"'1
ofdu s",[.
HA ZRAT
IN AYAT
KHAN
Plantl
Drum
193
Gourd rattle.
[Ash anti people,
G hana, 1971 J
Gourd rattles.
[Burkina Faso, 1974]
 Drum, xylophones.
lsen ulo people, Ivol)'
Coast. 1965\

Dancing with
drums . lsenulo
people , \vol)'
Coast. 1965\

/'

Rattling metal disks

enrich the sound of
drum sets. lBau\e
people , Ivory Coast,
date unknown1
Moropa, earthen-
ware drum . [Sotho
people, O ra nge Free
State, South Africa,
date unknown]

Log xylophone and

drum. [Central Afri-
ca, date unknown]

Timbila. [Chopi
people, Mozam-
bique, ca . 1935]

.>
 Bamboo slit·drums,
calabash rattle,
buffalo horn beat-
ers. (Dan people,
Ivory Coast . 1964]

Mblra (njar;-type),
played by Simon
Mashoko. [H arare,
Zimba bwe, 1971 J

PLmtt
Dmm
196
Asia and Oceania ~u nl mako, struck
bamboo tubes.
[:A..re :A.re p eople.
Ma la ita, Solom on
Island s, ca. 1974]

PLJJ!(/
Drum
197

~~t~~""·i5o"'-'·-;'OIO mouta,
played by Warousu.
(:Are:Are p eople,
Malaita, Solom on
Islands, ca. 1974)
 Pedasuh (gourd
penis sheath), oktek
(sago-seed and bird-
bone be ad belt).
The dancer leaps
back and forth from
right foot to left,
making the sheath
fly upward and
strike the see d belt
at his waist, making
a sharp clicking
sound. [Ida fest ival,
Punda vill ag e, Papua
N ew G uinea, 1977]

Palm leaf fan,

p layed by Nlutea.
[Niutao, Tuvalu,
Oceania, ca. 1960)

llibs played by (from

left) Gaso, Glgio,
Sowelo, and Agale.
(Kaluli peopl e, Papua
N ew Guinea, 1982]
Plallft

D"'111
198
 -
Kundus. [Arawe
plantation, Cape
Merkus, New Brit·
ain, Papua New
Guinea, 1910}
Barrel drums.
kettledrums. and
shawm. (Balt it ,
Hunza, Pakista n,
1973J
 O-daiko, played
by Kitaro. [Japan,
19805J

Taikos, played by
Kabuki drummers
of J a pa n. [New York
concert, 1976}

Plantt
Dmm
201
Tungda amu
(mothe r drum),
played by Dawo
Lh endup. (Lepcha
people, Sikkim, 1970J
 There ollce was a uillage ill Vietllam
that was besieged by an army about to
attack, bllt there were IlO deJendillg
soldiers ill the uillage. Olle bold persoll
assembled a set of nine drums and uigor,
ollsly peeformed Oil all of them, strikillg
rapidly with hallds, kllees,jeet, elbows,
shoulders, whatwer, makillg Stich adill
that the attacking troops thought it would
be hopeless to go up agaillst the tremell'
dous army that they imagilled was there.
FREDRIC LIEBERMAN

Gang-sans vvith
human jawbone
handles (left and
below). [Bontoe
Igorot people,
Philippines. 1903J
 Clapper sticks. [liv-
erpo ol River, Arnhem
Land, Australia)

P'ai-pan, cl appe r
sticks. [Tainan,
Taiwa n, ca. 1970]

\ PianN
D",m
203
 p .' I@D Taike means "drum" (literally, "big drum")
in Japanese. Many different instruments
The best" known of these profes,
sional ensembles are the Kodo and
are called laike, including cylindrical and O ndeko,za drummers. Noted for their
barrel,shaped drums. The laike used in rhyrhmic intensiry, these groups treat
Buddhist and Shinto festivals is usually drumming as if it were a spiritual or
a large barrel,shaped drum with two martial discipline. Playing in such groups
nailed heads. is a highly physical art that focuses all
Contemporary laike groups arc attention on the precision of execmion
modeled on the Sado Okesa festivals and primacy of the pulse.
found only on tiny Sado Island near the
Japanese coast. In the 1960s several
folkl oric ensembles expanded on the Sado
Okesa version of laike and created an
entirely new sryle of multiple,drum
ensemble music, a style so immediately
Taikos, played by
Kodo. (Sa do Island,
attractive and exciting that it spread like
J apa n, 1980.1 wildfire across Japan and to Japanese
commUnities overseas.
 The island archipelago of Indonesia hosts
one of the world's richest musical tradi,
tions. The gamelan orchestras of Java and
Bali arc wondrous percussion ensembles
composed of gongs, marimba,like metal,
keyed instruments, xylophones, drums,
and cymbals. Though other instruments
are included in gamelan orchestras,
bronze is the main sounding material.
Try to imagine the sound of an orchestra
of bronze - not just the roar of the large
gongs or the bright metallic clatter of
metal keys, but every possible shade in
between, from the PUtt of low,pitched
keys over bamboo resonators struck with
heavily padded beaters to the chiming
clash of sets of small cymbals.

common in southern
China and Southeast
Asia. Symbols of
wealth and power,
they still are used in
ritual contexts by
Shan and Karen
pe oples. [Eastern
Burm a, 1930sJ Kindangs. [Bali,
Indonesia, 19305)
In the many gam-
elan traditions of
the Indones ian
archipelago, the
musician assigned
to the largest gongs
plays an essential
role by punctuating
important structura l
moments In the
music. (Ba li, Indo -
nesia, ca. 1930]

Kempur (Bali, Ind o-

ne sia, 19305] ...

Fie ld Muse um until

nese brought a pe rce ptive curator
a gamelan to re cognized th ei r
Chicago's Colum- significance , ar-
bian Exposition, ranged careful re s-
where the group toration, and g ave
played to capacity voice to the re-
audiences during newe d instrum e nts.
their six-month run .
The instruments
languished in stor-
age at Chica go's
 Para ni '0'0.
(:A.re:A.re people,

Children Malaita, Solomon

Islands, ca. 1974]

Around the world, thousands of children

arc living the joy and 1lL1gic of playing the
drum, thrilled by the feeling of stick or
hand striking taut drumskin, awed by the
clap of sound that fills the ear completely.

Ga~'an angklung.
[Bali , Indonesia.
1930,J ~

Gongs. (8agobo
people, Mindanao,
Philippines, ca. 1908J
 Damaru, played by
Khamtul Rinpoche.
(Khampagar Mon-
astery. Paprola,
Himachal Pradesh,
India, 1983) ..
Trap set, played by
Buddy Rich. [United
States, ca. 1923]

Mridangaml played
by a drum school
student. [Madras,
India, 1970)
Planet Drum
From the five'gallon pail to the digitized
drum pad, throughom our history as a
percussive species we have found endlessly
creative ways to turn the world into our
drumskin, our hollow log. From the
men's and women's drum circles, which
are recovering the communal power of
entrainment, to the most avam. .garde
techno . . percussionists, we remain time. .
keepers of an ancient art that harks back
to the One, the Nada Brahma, the seed
sound at the heart of creation, the big
bang. Here are some of the preservers
of the pulse.
Five-gallon pail,
played by Larry
Wright. [United
States. 1989J
In this mechanized
percussive sculp-
ture , the Earth. un'
der attack by the
Rock Thrower and
defended by primi-
tive Squatting Man,
splits open to un-
leash its spirit, the
Tumbling Man. The
soundscape of the
industrialized world
is reflected in
music. In its image.
we create musical
instruments. ma-
chines that move
and dance a very
noisy dance. lChico
MacMurtrie, the
Exploratoriurn, San
Francisco, 19891
instruments played
D'Cuckoo is com- by Tina Phelps,
prised of four Candice Pacheco,
electronically digi- Tina Blaine, and
tized percussion Patti Clemens.
lUnited States, 19911

Plantt
Drum
212
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Discography
TIl! WorM, a series of recordings produced by
M.jckcy Hart, presents authemic and fusion
music from ruversc nations and styles. selected
for its beauty, power, and significa nce and
recorded in locations ranging from the Nubian
Descrc to the Arctic Tundra. (For more
information about this series, write to:
Rykodisc, Pickering Wharf, Bldg. C- 3G,
Salem, MA 01970.)
The Diga Rhythm Band. Diga (RCD 10101 /
RALPjRA CS) . C lassic percussion from a
band of eleven rhythmiStS, including
Mickey Han and Zakir Hussain. and
featu ring Jerry Garcia.
Ham", cI Din. Eclip" ( RCD lOlOl/RACS) .
Music from the olld master from the Sudan.
Dzimars. SoI~S oj Amber (Reo 10130/
RACS) . Folk songs from the Latvian
Women's Choir.
Steven Fe1d, producer. Voias oj the Rabiform
(RC D I017l / RACS) . The endangered
music of the Kaluli. recorded in Papua
New Guinea.
The Golden Gate Gypsy Orchestra. TI.
Travrlingj ,/Uirlo Wedd;,~ ( RC D lOI05/RACS) .
A joyous bl(: nd of traditional and contem~
porary mUSlC.
The Cymo Monks. Freedom Chants from the Roof
oj Ii. World (RCD 2011J/RACS) . T he
polyphonic chancing of the Tibetan choir,
featu ring a performance by Mickey Hart,
Ph ilip Glass , and Kiraro.
Hariprasad Chaurasia and Zakir Hussain. Venl!
(RCO 20128) . Classical Autc music from
lndia, featuring tabla master Zakir Hussain.
Mickey Hart. At Ii, Edg' (RC D IOI24/RACS).
The companion album ro Drumming at tIre
Edgt' of Magic, a personal anthology of
Mickey Han's lifelong pursuit of the spirit
of percussion.
- - -, Plal/et DfJ/m (Reo I0206!RACS).
Percussionists from many trarutions find
common ground to create a dynamic new
global style, featuring Sikiru Adepoju,
Mickey Hart. Zakir Hussain. Airto
Moreira, Babamnde O latunji, Flora
Purim, and T. H."Vikku" Vinayakram.
Mickey Hart and Taro Han. Mlisie to Be &rn By
(RCD 20112/RACS). A soorhing, rhyrh mic
soundscape for the binhing environment
and beyond, fearu ring a recording of Taro
Harr's hean beat in the womb.
Mickey Han, A ino Moreira, and Flora Purim.
Dajos (RCD IOIOS/RACS). A musical
ethnography of an imaginary country; the
adventure of an inner soundscape.
Mickey Hart, producer. Tile MJlsic oj Upper
,lid Lewer Egypt ( RCD 10106/RA CS) .
Recorded during the Grateful Dead's 1978
tour of Egypt.
Ustad Sultan Khan. Sarongi: The Milsic oj II/dia
(RCD 10104/RA CS) . The exq uisite sounds
of the saral(gi.
O latunji. Drums of Passion: Tlli' bwocatioll (RCD
10102/RA CS) . A new digital recording by a
drum master, featuring cleven percussion,
ists and seven vocalists.
O larunji. Drums of Passioll: The &at (RC D 10107/
RACS) . A digitally remixed version of
Dallce to the Beat oj My DfJll/I,
The Rhydlm Devi ls. TIll Apocalypse NolV
Sessioll' ( RC D lOlO9/RACS) . Mickey Hart,
Bill Kreutzmann, Michael Hinton, and
A ino Moreira explore the boundaries of
cinemat ic music.
Thomas Vennum , Jr., and Mickey Hart,
producers. HOllor tht Earth (RC D 10199{
RA CS) . A powwow dance ceremony of
{hree American Indian tribes, the Ojibwa,
tbe Menominee, and the Winnebago,
recorded in northern Wisconsin.
Th e Pl a ne t Drum Olatunji, Airto
ense mbl e. Top: More ira. Bottom:
Flora Purim, Sikiru T. H. "Vikku"
Ad e poju, Mickey Vinaya kra m, Za kir
Ha rt, Baba tunde Hussain. [Unite d
States, 1991]
 Acknowledgments

Sira Almeida Howard Jacobsen Andrew Neher Hugo Zemp RES EARCHERS

RemoBelli Jung Institute orsan New York General Armand Zildjian Francesea Ferguson
Peter Berg Francisco Library of Avedis Zildjian Co. Michael Frishkopf
John Blacking Mariko Kan Performing Am Robert Zildjian Jennie Hansen
Barry Brook Bryna Kan . .Liebcrman New York Public Kathryn Henniss
HARPER
Carol and Joe Calaro Richard K«ling Library SAN FRANCISCO Mei,lu Ho
STAFF
Joseph Campbell Charlie King Babarunde Olatunji Louise Lacey
George Carroll Sracy Kluck Constance Olds Pamela Byers Ted Levin
Banan Cline Roderic Knigh' James Olnes Clay,on Carlson Therese Mahoney
Elizabe,h Cohen Kodo Mark Pauline .Anj Chamichian John O'Connell
Nina Cummings S<anley Krippner Michael Pluznick Jim McCasland Pauizia Pallaro
Vince Delgado Frilz Kuuner Jerry Pompili Adrian Morgan David Phillips
Sue Carole De Vale Dennis Letzier Tiro Pueme Noreen Norton David Roche
Lennie DiMuzio Emily Levy Flora Purim Pat Rose Nicholas Sammond
Rick Drumm Hom Link Barbara Racy Bernie Scheier Richard Sheiman
Alan Dundes Maury Lishon Jihad Racy Robin Seaman Curt L. Sonneborn
Catherine Dunford AJan Lomax Regal Tip Elizabe,h Wrigh'
TRIAD
Leah Farrow Jose Lorenzo Sabian L,d. S TAFF AND
ASSOCIATES 360 0
S,even Feld William F. Ludwig Andrew Schloss PRODUCTIONS
Vic Firth James Makubuye Cameron Sears Robin Benjamin STAFF

Jerry Garcia Dr. AJan Margolin Pete Seeger Stuan Bradford Dame Anderson
Robert Garfias Lloyd McCausland Guha Shankar Michael Dambrowski Howard Cohen
Sara De Gennaro Barbara McClintock Dan Sheehy Roger Graham Christine Coulter
Samuel M. Goldberger NionMcEvoy Roben Sheldon Ariel Grey Nance Dunev
Thomas Grady Dennis McNally Ram Rod Shurtliff Janet Huston Mark Forry
Marilyn Gra[ C harles McNamee The Smithsonian Jon Ianziti Janey Fritsche
Bill Graham Patricia McNamee Institution Dagmar Jordan Shannon Hamilton
The Grateful Dead Susan McNamee Susan Sommer Nancy Kiveue Edi,h Johnson
Grateful Dead Barry Melton Jay S,evens Jean Lannen Steve Keyser
Productions staff Antonia Minnecola Daphne Thompson David Meyer Leslie Michel
Gyuro Monks Ken Moore Tovar Vanderbeek Jerry Pisani Merri Parker
David Gregory Airto Moreira Lois Vanderbeck Cindi Powers Michael Peri
Lou Harrison Bill Morgan Thomas Vennum. Jr. Evelyn Reece Joh n Perdikis
Creek Han Gordon Mumma Jesse Virago Michelle Rose Sheila Smi,h
Taro Hart Keith Muscuu Gillian Wakely lnga Vcsik Jeff Srcrling
Many Hanmann Andy Narrell Bob Ward ARTI S TS AND
Karen Tautenhahn
Bess Hawes Diane Alexander ILLUSTRATORS Lori Zook
Sheryl Heidenreich White David Beck
Ruth,Inge Heinze Connie Whitman Maya Cain
Plall(t Michael Hinton Kay Wolvenon Kalynn Campbell
Drum Wordata
Mamie Hood David Delamare
218
Dolores Hsu Carol Lavelle
NautHumon
Robert Hunter
Zakir Hussain
C R E 0 ITS
Unlm a/k,wi« ",,/(J, photograplr
and illuJlflltiem crtJjtJ will rtaJfromIII(
lllp 10 bottom and 1!j111) riglrt OIl /lily
pagt. WhITt Mcwary, imagt fOl"liollJ
wif{ bt idtlllifitd as illlht foffowilll :
(t) lap, (Ir) top right, (mr) midrilt
'itht,(br) bottem righi, (b) bottom,
(c) (Nlltr, lind so all. Whtrt filch
IMlllioll irimlificllliollS prCllt insufjidml,
lhorl dmriplions will bt giwn ill
parmthtm. Multiplt credits 011 IIny
giwnPJ.{t IIrt ftparaudby stnJicolollS.
COVER IL.L.USTRATION: Nancy
Nimoy; animal spirits concept
courtesy of Willard H. Dow II.
INITIAL. CAPS: David Beck. 8-9:
o C''Y Ladd 1972. " , F;nl'l'
Holiday Film, Los Angeles. 12:
Ullstcin,Bi lderdienst; National
Aeronautics and Sp4ce Adminis,
mllion. Washington, o.c. 13:
O riginal illustration by Eduea,
tional Event Coordinators, San
Francisco, after Man 1M ToolrtUlktr,
51h edition, by K. P. Oakley
(London: British Museum,
1958); L. Pauignani, Arti
Grafiche Ricordi, Milan, Italy.
14: Original illustration by
Kalynn Campbell. '5: Peter Veit,
e National Geographic Society.
16: Nonon Simon Foundat ion.
'7: Courtesy of Silvio A. Bedini .
Smithsonian Institution. '8: The
British Library. '9: Cl The
Pierpont Morgan Library 1990.
21 : Original illustration by
David Delamm. 22: O riginal
illuslralion by Kalynn Campbell.
24: OriginJ.1illustration by
David Deiamare. 27: O riginal
illustration by Educational Evmt
Cootdinators, San Fr.mcisco. 28:
Original illustration by David
Ddamare. 30: Jean Vmut. 3':
undesmuseum fur Vorgeschichte
(t); Cooperation (mr); Neg. no.
330490. Counesy of the Otpan~
men! of Library Services, Ameri,
can Museum of NalUral History
(b). 32: Reptoduced by courtesy
of the Trustm of the British
Museum (d); Reproduced by
courtesy of the Trusttts of the
British Museum (crotales);
Hirmer Fotoarchiv, Munich (b).
33: Reproduced by courlesy of
the Trustm of the British
Museum (tI); Reproduced by
courtesy of the TrustctS of the
Brirish Museum (tr); Courtesy
of the Egyptian Museum, Cairo
(CC69220 A ,S) (m'); Cou,.
tesy of Ihe Egyptian Museum,
C,;ro (CC4 00ll) (b,); Repro.
duced. by countsy of the: Trustees
of Ihe British Museum (bl).
34: Wang Mengxiang, courtesy
of Pan Qixu (d); Courtesy of the
Royal Ontario Museum, Toronto,
Canada (mr); From"Htal/tII!y
ClodtulcJrk: Titt CrW AJtr<JlIOmica!
C!odu of Mtdit~'II! Chinll, by
Joseph Needham (Cambridge:
Cambridge University Press ,
1960) (br). 35: Chinese Culture
Cmter (drumsinger). 36: By
permission of the Syndics of
Cambridge Univmity Library
(tr); Bardo Museum. Tunis (bl).
37: F. Anton, Munich (d);
Lowie Museum of Anth ropology,
The Univmity of California at
Berkeley (tc); Photograph by F.
Anton, from the collection of
Howard Leigh, Museo Frissil ,
Mida, Oaxaca, Mexico (tr);
F. Amon (c); INAH,CNCA.MEX
(b). 38: The HeJ.rd Museum,
Phoenix, Arizona; Carmelo
Guadagno. COUrtesy of Museum
of the American Indian. Heye
Foundation. 39: Reproduction
courtesy of The Bancroft Library
(d); Arizona SUle Museum, The
University of Arizona, photo-
graph by Hdga Teiwes (n);
F. Anton, Munich. 40: © 1990,
Museo dd Prado, Madrid, Spain.
4': Wallraf,Richartz"Museum,
Koln. photograph by Rheinische
Bildarchiv. 42: From Tht Works
of William Ho,garlll (London:
London Priming and Publishing
Co. , 1833); Joseph Glanville,
Stsdlldlnllli TriumplUJlul, courtesy
of the Humington Library, San
Marino, California; Orum
LJliIographii dt HOl'.ori Dallmitr
(Paris: Loys Ddteil, 1925).
43: Reproduced from the Oxford
Ellglish Dictionary by permission of
Oxford University Press (back,
ground); From RUllO!O: fAm dti
Rumorl by G. Franco Maffina
(Torino: Manano/Vias Battista,
1978). 44: From NmJSlvttk,
August 8. 1936 (tr); inmnational
Museum of Photography at
George Eastman House, photo,
graph by Lewis Hine (d);
Thomas Erikson (bl); Vincc
M.aggiora, COUrtesy of Sail
Fralldsco CiJr"niclr (demolition).
45 : United States Navy Flight
OtmonSlration Squadron,
Pensacola, Florida. photograph
by JdfWood (tr); United Slates
Navy Flight Otmonstration
Squadron. Pensacola, Florida,
photograph by JdfWood (m');
Ullstein-BilderdienSf, photograph
by Pavel Sticha (c). 46-47: lu o
SUIO. 49: Bibliolcka Kornicb.
PA N. 50: From Gruk FJlk
M'ISi(Qi l llftrunrrntJ, by Fivos
Anoy:tn:l.kis (Athens: National
Bank of Greece, 1979), pI. 19,
photograph by K. Paschaladis.
5': Hugo Zemp. 52: Vidoc,
deparlment of the Royal Tropical
InslilUte, Amsterdam, Nether,
lands. 53: From Talking Drlll1lJ of
Aj ri(lI, by John F. Carrington
(New York : Negro Universities
Press, 1969). 54: Mantle Hood;
Hugo Zemp. 55: Drawing by
Chas. Addams, ~ 1986 The
New Yorker Magazim, Inc. (d) ;
Courtesy, Field Museum of Nat,
ural History (neg. no. 100851),
Chicago (n); ~ 1927 Metro,
Goldwyn,Mayer Distributing
Corporat ion, reno 1955 Loew's
Inc. (br). 56-57: Edinburgh
University Library Ar. Ms . 20,
folio lO8v. 57: Burgerbibliothek,
Bern. 58: Courtesy of Topkapi
Sarayi Museum; Glasgow Uni,
versilY Library. Farmer Collec,
tion (Farmer Mss. 126/2). 59:
Mustes Royaux des Beaux,Arts
de Bdgiqm, Brussds, photograph
by Speltdoorn. 60: Reproduced
by courtesy of the Trustees of the
British Museum. 6' : Detail from
the Batde of Blenheim Tapestry,
reproduced by kind permission of
His Graee the Duke of Marl,
borough; Plymouth City Mu.
seum & Art Gallery Collection,
England. 62: Delaware Art Mu ,
scum, Wilmington, Howard Pyle
Collection; The Fotomas Index.
63: From Drummtrl Hallllgt, by
Frederick Fennd. counesy of
Ludwig Music. 64: Mezzotint in
the Farmer Collection, Glasgow
University Library; Royal Mili,
tary School of Music. Kneller
tull. Twickenham, England.
65: Ronn Palm; Amibuted to
Mauhew Brady. coullu y of
William Ludwig Archive.
66: William Ludwig Archive;
Amon Carter Museum, Fort
\Vorth, Tex:l.5 . 67: From Tilt
J/fllsfraud umdo/J Ntllll, August 5,
1876; Sdrnt[fic Amrriwl Supple'
melll. September 1900. 68:
O riginal illustralion by David
Beck. 70: Neg. no. 322202.
photograph by Bonin, counesy of
Departmmt of Library Services,
American Museum of Natur.tl
History. 71 : Stcdelijk Museum
Collection, Amsterdam. I{j Estate
of George Grosz/VAGA New
York 1990. 72: United S[al~
DtpanmcnI of Energy, 1957.
73: From A Pictorial Hif/orr of lk
SSe 1923-1945, by And,ew Mollo
(London: Macdonald & Jane's
Publishing Group) (d); From
Hil/u's Propogam!a Machint, by
Ward Rutherford (London:
Bison Books) (n); Yad Vashem
Pholo Archives (b). 74:
Eberhard OltO. 75: ChicJ.go
Historical Society, photograph by
H. A. Alwell Studio, [CHi~
21729. 76: Counes), ofPeJ.body
Museum, Harvard University.
77: Hugo Zemp; Reprinted from
MUlic £duc"lorf JouTnal, October
1972 (vol. 59, no. 2). 78, The
Laura Boulton Collect ion.
Archives of Traditional Music,
Indiana University. 79: Cou rtesy
of Colin McPhee Collection.
UCLA Ethnomusicology Ar,
chive; Steven Feld. 80: lchimuf<j
"clor III III( rolt of JlfW mllSlcilltl, by
I{,.lsukawa Shunko, Collection
Haags Gemeentemuseum, The
Hague; The Metropolitan Mu~
sturn of All. Charles Stewart
Smith Collection, gift of Mrs.
Charles Stewan Smith, Charles
Stewart Smith, Jr., and Howard
Caswell Smith, in memory of
Charles Stewart Smith, 1914
(14.76.60. 11), all rights reserved,
The Metropolitan Museum of
Art. 8"1: ''A DJ.ncing Boy" by
Kim Hong, Do U- afier 1814).
National Museum of Korea,
Sroul (tr); Jap4n N.u ional Tourist
Organization (bl). 82: © 1990
The Melropolilan Museum of
Arl, purchase, Louis E. and
Theresa S. Sdey Purchase Fund
for Islamic Art, Rogers Fund and
Alastair B. Man in, Margaret
Musehkian, and Time,Life, Inc.
Gifts, 1985 (1985.247); Counesy
of the Trustm of the Victoria and
Alben Museum. 83: Susan
Griggs Agency, photograph by
Pepita Fairfax (tI); Eliot Elisofon,
National Museum of African
Art, Eliot Elisofon Archives,
Smithsonian Institution (c);
Branson De Cou, NafiCIIJal
Ct"grapllic, December 1932 (tin
cans); John Werner (back~
ground). 84: Courtesy of
Topkapi Sarayi Museum; Barbara
Racy. 85: From MUlie: A Pictorial
Af(hi~'t of J.J"'oJeulJ and Engr'lIfill,fI,
sdected by Jim Harter (New
York: Dover Publications Inc..
1980); Barbara Racy. 86: Carol
Beck and Angela Fisher. 87:
Courtesy of the New York Public
Library; From Titt Illlls/roltd
London NtUli, May 27. 1865.
88: Elim Eli50foo, National
Museum of African An, EliOl
Elisofon Archives, Smithsonian
Institution. 89: John Chernof[
90: From Manlagnu ar III LUllt:
DlKumttrts Photot'''phiquu ttl Noir
tt til CouftuTs, by Bernard Pierre.
Jean~Paul Gardiner, and Bernard
Pierre (Paris: Hachelle. 1959)
(d); Rene Cord; (bl). 91 , Carol
Beck and Angela Fisher; Eliot
Elisofon, National Museum of
African An, Eliot Elisofon
Archives , Smithsonian Institu,
tion. 92: Eliot Elisofon, National
Museum of African Arl, Eliot
Elisofon Archives, SmithsoniJ.n
Institution. 93: A.A.A. Photo.
Paris (tr); Eliot Elisofon,
National Museum of African
An, Eliot Elisofon Archives.
Smithsonian Inst itution (ml);
United Nations (b). 94: Cou r~
tesy of Biblioteka Narodowa,
Warsaw, Poland (d); Biblio-
theque Nationale de Paris (tr).
95: Reproduced by courtesy of
the Truslm of The National
C,lle'Y, London (,); O. WyO.
Dierks (br). 96: Organiution of
American States ; O rganiution of
American States. 97: Courtesy of
Milwaukee Public Museum (tt);
Vidoc, dep4rtment of the Royal
TropicallnstitUle. Amsterdam.
Netherlands (d); Hugh Davis,
e 1940 National Geographic
Soc iety (b). 98: Courtesy of
Caryl>( (tI); Courtesy of Caryl>(
(b,); Courtesy of C''Ybi (bl).
99: Trans. no. 1734(2), courtesy
Department of Library Services.
American Museum of Natural
History; National Anthropo.-
logical Archives, Smithsonian
InuilUtion. '00-': Turkish
Ministry of Tourism and
Information. ' 03: © 1990 The
Metropolitan Museum of Art,
Rogers Fund, 1922 (22.139.28);
From Austrltunt CriuhiHht
Vastllbildtr, by Eduard Gerhard
(Berlin: C . Reimer. 1843). pI.
115. '04: From AJttl Musik ..
inlfTllmrnm, by Wilhdm Stauder
(Braunschweig: Klinkhardt &
Biermann. 1973) (background);
The Metropolitan Museum of
Art, Fletcher Fund, 1940
(41.96), all rights reserved, The
Metropolitan Museum of Art
21'
(bl); Collection, The Museum
of Modern Art. New York, ac,
quited through the Lillie P. Bliss
Bequest, etching and aquatint,
printed in black, pI. 26Y. X 20Ys
in. '05: Courtesy of Biblioteka
 Narodowa, \Varsaw, Poland;
Fabrizio Parisio. 106: Stifts;
bibliothek, St. Gallen (tr);
Fausto Castrabem, Perugia, Italy.
107: Museum Boymans;van
Ikuningen, Rotterdam. 108:
Photo Valican Museums. 109:
From Thl IlluIlraua unaan NtUI!,
November 9, 1878; From Gruk
Folk MUJical 1mlrUmtnls, by Fivos
Anoyanakis (Athens: National
B, nk of Grccce, 1979), pI. 11,
pholograph by M. Skiadaressis.
110: Adam Clark Vroman, Na'
tional Anthropological Archives ,
Smithsonian Institution (bl),
111: Hugo Zemp (tr); Courtesy
of Field Museum of Natural His,
tory (neg. no. 37934), Chicago
(b). 112: Dance Collection,
New York Public Library at
Lincoln Center, Astor, unox,
and Tilden Foundations; Repro,
duced by courtesy of the Trustees
of the British Museum. 113:
B,23638 "Noblewoman;' Hans
Holbein, Ihe Younger, 1497-
1543, National Gallery of Arl,
Washington, D.C., Rosenwald
Collection (d); B;7438 "End of
Mankind;' Hans Holbein, the
Younger, 1497- 1543, National
Gallery of An, Washington,
D.C" Rosenwald Collection
(n); Fowler Museum of Cultural
History, UC LA (bl). '14: Stum
Wasserman; Hermann Trenkle.
115: ~ 1990 Museo del Prado,
Madrid, Spain; Bernisches His;
IOrisches Museum. 116: Councsy
of Field Museum of Natural
History (neg. no. 111407C),
Chicago; Collcction Musee de
i'Homme. 117: Hugo Zemp.
118: J. Pascal Scbah (after 1868),
Cairo: FEu au Domh, courtesy
of the Brooklyn Museum. 119:
© 1980 The Mcnopolitan Mu;
seum of Art, purchase, Rogers
Fund and the Kevorkian Founda,
r;on G;fr, 1955 (55.121.10.18).
120: Barbara Racy (ml); Lillian
Schaedler, Natienal Grographic,
April 1931 (mr). 121: Jane
Belo; J:me Belo. 122: Michael
Yamashita. 123: David
Lewiston. 124: Alice Klnddl;
Alice Klndell. 125: Staatliche
Plall({ Museum ftir Volkerkunde. 126:
Drum Archives N, Bouvier, 127: John
Hitchcock. 128: From Fin"""
220
Ugri(, Sibrrian Myllwlogy, by Uno
Holm berg (New York: Cooper
Square, 1964); Larry G. Peters,
Ph.D. 129: Coumsy of Peabody
Museum, Harvard University,
photograph by Edward Curtis.
130: Barbara Racy. 131: Matilda
Coxe Stevenson, National
Anthropological Archives,
Smithsonian Institution; Na.-
tional Anthropological Archiv~ ,
Smithsonian Institution,
132: From Rtiu ill aas illllerr Nora;
Anurica i'l dmjahrm1832- 1834, by
Prince Maximilian, courtesy of
The Bancroft Library. 133:
IUfael Jose de Menezes Bastos,
1976, courtesy of Gerard Bchague
(tr); Peter T. Futsl (c); Paimings
by Edwin Earle, courtesy of
Museum of the American Indian,
Heye Foundation (b). 134: The
British Library. 137: O riginal
illustration by Carol Lavelle.
138: ~ D. Laine;Hoa-Qui.
139: Chetd Ito. 140: Don Klein;
Don Klein. 141: Don Klein;
Don Klein. 142: From TIff
IIlllslrald unaall Ntws, May 5,
1888; Don Klein. 143: Don
Klein, 144-45: Michael Mdford.
147: Remo Inc" Hollywood,
California. 148: Axel Poignam
Archive, London; From Music:
A Pictorial Archivt oj Woodcuis alld
ElIgravillgI, selected by Jim Harter
(New York: Dover Publications
Inc. , 1980). 149: From Gruk
Folk MrlSical IlIslwnwrlf, by Fivos
Anoyanakis (Athens: National
B,nk of Grecce, 1979), pI. 48,
photograph by R. Parissis (d);
From Gmk Felk Musical IIIsITtl;
IIJl/IlI, by Fivos Anoyanakis
(Athens: National Bank of
Greece, 1979), pI. 47, photograph
by M. Skiadaressis (tr); Diane L.
Nordeck, Smithsonian Institution
(b). 150: From the COOier
At/anlico, Leonardo da Vinci,
Biblioteca Ambrosia di Milano,
Riprodollo E. Pubblicato. dalla
Regia Accademia dei Lineci, fol.
m r-e (tl): © 1977 The
Metropolitan Museum of Art,
The Crosby Brown Collection of
Musical Instruments, 1889
(89.4.1743 ) (bl): The Horn;""n
Museum, London (c) ; ~ 1988
The Metropolitan Museum of
An, The Crosby Brown Collec,
tion of Musical Instrumems, 1889
(89.4.1236) (br). 151, INAH_
CNCA'M.EX; Dane Little, for;
merly in the collection of Valerie
Franklin. 152: Hugo Zemp (d);
Hugo Zemp (tm); Hugo Zemp
(mr). 153: Hugo Zemp (d);
Hugo Zemp (tm); Hugo Zemp
(rc): Hogo Zemp (bl): Hogo
Zemp (br). 154: Hugo Zemp.
156: Henry Eichheim Collection
of Musical Instruments, Depart,
ment of Music, University of
California, Santa Barbara;
COUrtesy of the Tokyo National
Research Inslituce of Cultural
Propmies. 157: F. Anton,
Munich; Panice Fava. 158:
Collection Musec: de I'Homme,
phorognph b)' CI. M.
Ddaplanche (d); From Gruk
Folk Mur;cai Imlmmrnti, by Fivos
Anoyanilis (Athens: National
Bank of Greece, 1979), pI. 35,
photograph by R. Parissis (bl);
Museum voor Volkenkunde.
Rotterdam (br). 159: Museum
ftir Volkerkunde, Leipzig (IC);
Timothy White, rattle made by
Richard Dobson (mr). 160:
© G. Rouget (d); Keswick Mu,
seum (tr); Staatliches Institut fLir
Musikforschung Preufiischer
Kulturbesitz, Berlin. 161: Hugo
Zemp (tr); © 1977 The Metro.-
politan Museum of Art, Gift of
Blomb G,nc'Y, 1954 (54.160)
(bl); From Music: A Picterial
Archiw 0/ WcoJcuti and Engravillg!,
selected byJim Hamr (New
York: Dover Publications Inc"
1980) (1r, noisemakers). 162:
Educational Event Coordinators,
San Francisco (b), 163: Harold
& Erica Van Pelt, photographers,
Los Angeles (d); Lowie Museum
of Anthropology, The University
of California at Berkeley (tr);
Wang Mengxiang, courtesy of
Pan Q!xu (bl). 164: Collection
Rijksmuseum voor Volkenkunde,
Leiden, Netherlands. 165:
Reproduced with permission
from BtUs ana Mall, by Percival
Price, 166: Deben Bhauacharya
(I); The British Library (ml);
Scn,oku hakko Kln (mr),
167: From IsIMiia Kefekolev, by
Borisovich Olovianishnikov
(Moscow: Izdanie T;va P.O.
Oloviarushnikova S,vej,,1912).
168: From DU(fiplioll oj till Grral
Btll cJ MeJ(ow, by Auguste
Comte de Montfmand, n.d"
n.p. 169: From Dm riplion oj Ilu
Grtat Btll cJ Morcou~ by Auguste
Comte de Montferrand, n.d" n.p.
170: Lydia Cabrera, LA Socirdaa
Srcrrda Abcakua: Marrada Par Vitjes
Aarples (Miami: Editiones CR,
1970) (skull), 171 : Collection of
The Nev.'ark Museum (11.765),
Crane Collection (72,278),
purchase 1972, Mathilde O~trich
Bequesl Fund. 172_73: Carol
Ikck and Angela Fisher. 175:
© 1990 John Werner; Mestre
Acordeon Archives. 176: Roy
Boyke, Pan Magazinr, Trinidad
(t); © 1984 Bill Graham Presents
Archiv(O, photograph by Ken
Friedman (bl); Martha Davis
(br). 177: Ruta Addington.
178: Courtesy of The New York
Public Library; © 1939 RKO
IUdio Picture, Inc., ren, 1967
RKO General, Inc. 179: Mary
Evans Pic(Ure Library (I);
~ 1990 Ken Friedman (mr);
From Tlwrica Musicat, by
Franchinus Gaffurius (Milan:
1492) (br). 180, John Werner (r):
John Werner (mr); Steve
Jennings (bl). 181: Adger W.
Cowans, © Orion Pictures
Corporation, 1984 (t); John
Werner (ml); Amilava Chatterjee
(br). 182: 48.461 Tht &nl Playa,
William Sidney Mount, Amer;
ican, 1807-1868, oil on canvas,
36 X 29 ;n. (911.4 X73.6 em.),
bequest of Martha C. Klrolik
Collection of American Paint,
ings, 1815- 1865. 183: Fred
Harvey, courtCsy of Museum of
the American Indian, Heye
Foundation (t); Courtesy of
Museum of the American Indian,
Hcye Foundation (mr); Courtesy
of Museum of the American
Indian, Heye Foundation (ml);
The Laura Bouhon Collection,
Archives of Traditional Music,
Indiana University (b). 184:
Courtesy of Avedis Zildjian Co.
and Lennie Dimuzio (c); Frank
Driggs Collection (tr); Bob
Parent (br). 185: Coumsy of
Avedis Zildjian Co. and Lennie
Dimuzio (d); William Claxton
(If): W;U;am Cbxron (bl):
John Werner (br). 186: Denis
J. Williams for Crescendo
International; Agostino Mela,
Assemini (Cagliari), Italy. 187:
Michael Ckhs Archives, Venice,
California; Michael Ochs
Archives, Venice, California.
188: Barbara Racy; Barbara
lUcy. 189: M.;Y, Brandily, Paris,
France; Barbara lUcy. 190: Hugo
Zemp (It); UNESCO- F. Pouey
(bl), 191: Vincent, A,A.A,
Photo, Paris, France (t); From
Exposific Ellwl."ifica dt !nstmmllJles
MUJicai! t MUJicai! Mascaras dot
Pows dt Angela (Luanda: Museu
de Angola, 1964) (mr); Lowie
Museum of Anthropology, The
University of California at
Ikrkeley. 192: Schombu rg Cen,
ter for Research in Black Culture,
The New York Public Library,
futor, Lenox, and Tilden Foun,
dations. 193: Eliot Elisofon,
National Museum of African
Art, Eliot Elisofon Archives,
Smithsonian Institution (Ir);
Vidoc, department of the Royal
Tropical Institute, Amsterdam,
Netherlands (bl). 194: Hugo
Zemp (I): Hogo Zemp (bl):
© Huet,Hoa-Qui (br). 195:
P. R. Kirby, courtesy of Nan
Parnell (d); Neg, no. 330035
(photograph by Andre Cauvin),
COUrtesy of Department of
Library Services, American
Museum of Natural History (c);
Courtesy of the McGregor
Museum, Kimberley, SOUlh
Africa, from the Duggan,Cronin
Collection (br). 196: Hugo
Zemp; Courtesy of Simon
Mashoko. 197: Hugo Zemp;
Hugo Zemp. 198: Alfred Gell
(d); Gerd Koch (mr); Shari
RobertSon (b). 199: Counesyof
Field Museum of Natural History
(neg. no. 31920), Chicago.
200: Courtesy of the President
and Fellows of Harvard College,
photograph by Cutler J. Coulson
(d); Courtesy of the President
and Fellows of Harvard College,
photograph by Cutler J. Coulson
(tr); David Lewiston (ml); Larry
G. Peters, Ph.D. (b). 201:
Hideo Nakajima, coumsy of
Kazuo Toyoda (I); Fredric
Lieberman (br); The Asia
Society, New York (bl). 202:
Charles Martin, National
Anthropological Archives,
Smithsonian Institution; Charles
Martin, National Anthropo'
logical Archives, Smithsonian
Institution. 203: Ax.e1 Poignant
Archive, London (tr); Patrice
Fava (bl). 204: Michael Melford,
205: Susumu Yoshida (mr);
Michael Melford (b). 206:
Museum ftir Volkerkunde,
Leipzig; Courtesy of Colin
McPhee Collection, UCL A
Elhnomusicology Archive. 207:
CourtCsy of Colin McPhee Col,
lection, UCLA Ethnomusicology
Archive (t); Courtesy ofField
Museum of Natural Hislory
(neg. no. 106223), Chk'go (bl):
Courtesy of Colin McPhee
Collection, UCL A Ethnomusi,
cology Archive (br). 208: Hugo
Zemp (t); Courtesy of Colin
McPhee Collection, UCLA
Ethnomusicology Archive (br);
Courtesy of Field Museum of
Natural History (neg, no. 35050),
Chicago (bl). 209: Scabeba Em.
Inc. (tJ); David Lewiston (tc);
John Werner (tr); © 1990 Carol
S. Reck (b). 210: John Werner
(If): OH;p S;nh, (b). 211 , Ar;
Marcopoulos. 212: Thomas
Erikson; John Werner. 213: John
Werner. 217: John Werner.
I N 0 EX Band, military. 56. 56, 61
Barbados, 96, 96
Barrel drum, 82, 82, 87, 87, 116,
116, 122, 122, 183, 183, 190,
HIlt nllmhm in roman rypr rifa /0 190,200,200, 205; mechani,
/txt and (aptionr; pall nllmbm in italic cal, 34. Sf( also individual
typt riftr /0 imaga. drum names
Bass drum, 38, 74, 146, 147, 147,
Aconu Pueblo, 97, 97 184; kettledrum, incorrectly
Adepoju, Sikiru, 217 called, 67
Africa,7, 14, 14, IS. 15, 2S, 31, 31, Bast, 33
74, 83, 81- 87, 88- 93, 88- 93, Battle, 56, 62: of Adowa, 70. 70;
138, 138, 158, 158, 190- 96; of Blenheim, 61, 61; of the
Nonh, 32, 33, 36, 36, 87, 87, Nalions , 62,62
118-19, 119; South, 195, 195; Baul<, 49, 51 , 51, 190, 190, 191 ,
W(st/central, 158, 158. Sa t1fro 191, 193, 193
individual country names Beam. The, 179, 179
Aguabella, Francisco. 177, 177 Beater(s). Sa Drumstick(s)
Akao , 54, 51 B,II, 19, 19,93,93, 156, 162- 69;
Almeida, Bira, 175, 175 ankle. 83. 83; anthropomor,
Americas , 96-99, 96, 97, 98, 99. phic, 163, 163; baby j,m
Su aiio North America; playiog, 107, 107; bowl,
South America; individual shaped, 157, 157; Buddhist,
country names 124, 125, 156, 156; casting,
Anailala, 122 137, 152. 166, 167, 167; church,
Ancestor spirits , 26, 102, 110 162; graveyard of, 165, 165;
Angola, 191, 191 herder's 50, 50; in Hu,uMt1{k of
Animal(,), 13, 14- 15, 14, 15, 30, NOlrr Dt1mr, Thr, 178, 178;
50, 50, 91-95, 150, 162- 63, 164; iarg(st, 167-69, 168, 169; p<:al
soldim, 59, 59 of, 109, 109; 1"1101, 107, 107;
Anonymous, 57, 65 'ringer electrocuted; 179, 179;
Anvil, 49, 184 sacrifice fo r, 136- 37, 137;
)ll, )ll" 77, 77, 161 , 161, 197, skeleton playing, 114, 114, 115,
197, 208, 208 115; Solll of tilt Grrt1t &11,
Armen, Jacob, 209, 209 136-37. 137. Sf( also individual
Armonica, 160. 160 instrument names
Ashallli, 193, 193 Belli, Remo, 147, 147
hh,kh;J.yk/"h, 130 Bellson, Louie, 184, 184
fui" 16, 17, 16- 4/, 47, 80- 82, BO, Belt: goat~hooves, 130, 130; sago;
81,82,83, 83, 119, 119, 120, seed and bird,bone, 198, 198
120,122-2;, 122, 123, 121, 125, Btn Hur, 55, 55
126, 126, 127, 127, 128, 128, Benin, 163. 163
156, 156, 200-1, 203, Btrimball, 98, 98, 175, 175
204-5. Sir also individual Blrogavaa Gira, T/I(, 72
country names Bib!r, T/ir, 49. Sir also specific
Astarte. B book names
Alumpan, 54, 54 Big baog, 10- 11, 11, 211
Aillof, 105 Blacking, John, 30, 76, 99
f111 ni mako, 197, 197 Blades, James , 58
Australia. 26, 31 , 31, 79, 79, 154, Blaine, Tina, 212, 212
203 , 203 Blenh~ i m Tapestry, 61 , 61
Australopithecine (s), 13, 13 Blue Angels, noise of, 45, 45
Ax(, hand, 13, 13 Blu", 40, 138, 184
Amc, 38, 38, 39, 39, 151, 151 Bodmer, Carl, 132, 132
Body percussion, 13, 15, 15, 83, 83
Bacchanal . 103- 5, 103, 1M, 105 Body rattlees). Su Ratde(s), body
Bacchus, 103, lOS, 154 Boc: thius, 36, 36
Bach , Johann Sebastian, 40 Bomb, atomic, 72, 72
B'gobo, 208, 208 Bomb"d(,) , 166, 166
Baker, Ginger, 185, 185 Bonaparte. Napoleon. Su
&"J", 91 , 91 Napoleon
Bali,77, 77,79, 79, 121, 121, 206, Bone(s). 170, 171; clappers , 161,
206-7,208,208 161,181,181
Bamboo tuh!:(s), struck, 197. 197 Bontoc IgoTOt, 202, 202
Bamu~, 159, 159 Book of tht Dfad, Tibetan, 116
Bosch, Hieronymus, 40, 40
Bow. musical, 31, 117. JJ7.
Su alI" Berimbau
Brady, Matthew, 65, 65
Brain, thyrhm and the, 48
Brazi l, 98, 98, 133. 133, 140, 140,
141,141,142,142,143,143,
175, 175
Bronze drum(s), 34, 162, 162-63,
166, 166,206, 206
Bruegclrhe Elder, Pitter, 115, 115
Brunei, 164, 164
Bucher, Karl, 30
Bullroarer(s), 32, 154-55; at
funera.l, 154, 154; names of,
155 ; origin of, 26, 27
Burial Siory, 20
Burkina Faso, 52, 52, 193. 193
Burina, 156, 156, 206, 206
Bush telegraph. Sa Drum
language
Bwaaall;aru1r'igan, 29
Cam(roon, 55, 55, 93, 9J, 159, 159
Campbdl, josoph, 11, 17, 112,
123,124
Canada, 74, 74
Candomblc, 138
Cannon, 42, 42, 165, 166, 166
Caporirt1, 98, 98
Camaval, 105. 140, 140, 141, 142,
142, 143
Carrington, J. F., 52
Ca'l'bi, 98, 98
Castanets. 156, 161. 161
Caves, Icmpl ~ , 30, 30
Caxixi, 175, 175
Chad, 189, 189
'Cham, 116, 116
Cheye nne, 132
Children, 89, 89, 95, 95, 208,
208-10, 211
China, 17, 34-35,34-35,40,67,
13tH7, 137, 184
Chopi , 195, 195
Circle, drum, 211, 213,213
Clapp'''' ll, 33, 84, 84, 203,
203; in Bacchanal, 103, 105.
Srr a/so Bones
Clemens. Patti, 212, 212
Cleopatra, Queen, 48
ClifT paintings, 34,34
Cobham, Billy. 186, 186
Colombia, 163. 16J
Communication, 52- 54
Confucius. 7
Conga(s), 177, 177
Constantine [Roman emperor],
105
Cook, Captain James, 135, 135
Cortes, Hernando, 157
Cowbdl(,), 184
Creation, 16- 19, 16, 17, 19, 107 Ad,Din, Rashid, 5~56
CTOtales, 32, 32, 36, 36
CTOcals, 106, 106, 166, 166
Cuba. 170, 170
Cllict1, 142, 142
Cummings. t. c., 75
Cunningham, Skip. 181, 18/
Cymb,I" 73, 82, 82, 116, 184,
206; angel playing, 106;
demon playing, 84, 84;
hand, 158, 158; in Bacchanal,
104,105, 105; in monks'
procession, 123, 123; in
Turkish military band, S8.
Sir t1/r" Cromles
Czethos lovakia, 114, 114
Da Vinci. Leonardo, 150, 150
Da ..aaiko. Sa Dt1iko, ao ..
Dagomba, 89. 89
Do:ziko: aa', 116, 116; o~, 150, 150,
201 , 201
Domaru, 127, 171. 171, 209, 209.
Su a/so Hourglass drum
Dan, 152- 53, 152- 53, 196, 196;
story, 25
Dall{( of tilt Bace/umta, 105
Dao", 30,31,48, ;6,74--75, 85,
85,88, 88, 90, 90, 212,212;
and malion. 16, 107; and
rhythm, 74; and e<:stasy. 77,
103; corn, 99, 99; Dionysian,
103-4, 103; trance, 138, 138,
139. Su aho Death , da nc~ of
Daow(,), 38,38, 76,78, 78,80,
BO, 86, 86, 93, 93, 189, 189,
193, 193: and acrobat, 37, 37;
capocira, 98. 98; dervish.
100--101,101, 118, 119, 119;
imperial coun, 82, 82;
elephant of, 82, 82; masked,
81,81, 97,97, 110--11,110, 111;
Orisha(s) and, 102. 138;
skel~ton , 112- 16, 112, 113, 114,
115, 116; tap, 181, 181; with
crotales, 36; with tambou rine,
85,85
Daoilli, 149, 149
Darwin , Charles, 30
David, King, 106, 106
D'Cuckoo, 212, 212
Death, 62. 62; dance or, 112- 17.
112, 113, 111, 115, 116
Drji, 149, 149
Demolition, 45, 44-45
Deren, Maya, 139
Dmoi,h(,,), 118, 119, 119;
Whitling, 100- 101, 101
I)(wey, John, 114
DhiplokyprM, 50, 50
DllOlak, 210, 2/0
Diallo, Yaya, SO, 88
DiIIjrrill'l, 31,31
Dicguelio, 183 , 183
Dionysus, cult of, 103
Disc(s) : rattling metal, 194, 194;
whirring, 161, 161
Dodds, Warren "Baby:' 184, 184
DOllibak, 150, 150
Donga stick (s), 91, 91
Drake, SiTFrancis. 61; drum
belonging 10, 61
Dmm(,), 10, 34, 35, 37,40,49,
55,110, 116, 135; and bugle
corps, 66, 66; Jnd play, 74- 99;
bronze, 162, 162- 63, 166, 166;
brotherhood and sisterhood
of, 174; circle, 211, 213, 213;
construction of, IS2, 152- 53;
Drake's , 61 , 61; fife and, 56,
56, 65,65,94, 91, 96, 96;
gourd waler~, 160, 160;
,harmonica, 148, 148;
Hawaiian religious dance, 148,
148; healing, 120, 120; hunun
skin, 69; hut, 53.53; in
orchestra, 40, 42; origin of,
20.23. 2S, 29; pad, digitiz(d,
211,211; penance accompa~
nied by. 120, 120; school, 209.
209; talking, 52, 52, 54, 54;
war, 56- 73; "wife of the;' 53.
Su afro individual drum
names and types
Drum'h<:ad (s). Sir Drum (s),
construction of
Drum,making. Sir Drum (s),
construction of
Drummer(s), 46- 47, 47, 102;
"Sol, 41,106,106,108,108;
boy, 65, 65, 208, 209, 210, 211;
day 35, 35; demon, 40, 40, 41,
42, 42; Kabuki, 201, 201;
masked, 81, 81, 95, 95,110- 11;
master, 52, 54, 54; mounted,
31- 35, 58, 6iI;
Drumskin, world as, 211, 211
Drumstick(s), 23, 64,208; bone,
112, 112; anthromorphically
carved, 127; buffalo horn,
196, 196
Duccio, Agostino di, 106, 106
Dllnalln, 52, 52
Earth: religion based on, 103;
struck by meleorites, 12
Ecstasy, 77, 103, 119
Egypt, 32--ll, 32, 33, 87, 87, 119,
119, 130, 130
Ellis, Havelock , 103
Englaod, 36, 36, 42, 12, 58, 58,
61, 61, 64, 64, 109, 109, 160,
16iI, 186, 186, 187, 187
Enr..gd MIIJi{it1n, TIl(, 42, 42
Entrainment, 48, 70, 211; law
of, 17
Ethiopia, 18, 18, 70, 70, 86, 86,
91 , 91,172- 73, 173
Europe, 94- 95, 94, 95, 112, 112,
113, 111, 115, 116, 161, 161,
178- 79, 186- 87. Su also
221
individual country names
Exposit ion, Columbian, 207
 Farmer, Henry George, 64
Feld, Stev~ n, 130
FeSlival(s),78, 78; Azttt, 99,
99; Buddhist and Shinto,
205; corn dance, 99, 99;
(afllawl, 140, 140, 141, 142,
142, 143; Dla Jr los Murrro;
[D,y of Ihe Dc,dj, Ill, l/3;
Hanamai, 81, 81; of the
Arts. South Pacific, 79, 79;
rice~pla nting, 46-4 7, 47; Sado
Okesa, 205; Shrovetide, 95, 95
Field drum, 40, 40, 59, 59, 62, 62
Field Museum, 207
Fife and drum. S(( Drum(s),
fife and
Firdausi, Abu'l Q.asim, 58
Forli, Melono da. 108, 108
F"",e drum, 6, 33, 33, 84, 8i, 87,
87, lOS, 105; dervishes playing,
119,119; women and, 32, 32,
82,8Z, 103, 104, 188, 188
France, 178, 178, 179, 179
Friction drum, 95, 95, 142. 142
Fun~ral: bullr02rer at, 154, 154;
drumming at, 117, 117; human
skull drum used in, 170
Gamelan, 77. 77,206, 206-7;
"gll"t 208, Z08
G"g-san(s}, 202, 20Z
Gardrn oj Elr/hly DtlighlJ, 40
Garrard, 66
Ctiji, 166, 166
Cere, 152, 152
GClffi2ny, 31, 31, 94, 94, 112, llZ,
113, 113, 114, 114, 160, 161,
165, 165, Nw , 71 , 71,73,73
Gh, n" 54, 54, 89, 89, 193, 193
Gill, S,m, 111
Gbsschord, 160, 160
God(s), 20, 25, 39, 48, 85, 110,
120, 123, lSI, 151; of d.nce,
39,39; of su n and rain, 47;
voice of, 162
Goddess, 32, 33, 37, 110, Ill;
mother, 17, 18, 32, 33, 33,
103, 138
Gocthe, Johann Wolfgang
von, 14
Gong(s}, 46- 47, 47, 76, 76, 156,
208, Z08; " dow!)" 164, 164;
helmet, 95, 95; handles.
human jaw, 202, 202; in
gamelan, 206, 207, 207; sound
of, 162
Goril!., 13, 15, 15
Great Spirit, 29
Plsmu G"",e, 50, 50, 109, 109, 149, 149,
Drum 158, 158
Grip, rudimental drummer's.
222
65,65
Grosz, George, 71, 71
Growi DiaiUMry oj MUJical
Ill1trumrnIJ, 156
Guizar, 175, 175
Haida,74, 74
Haiti, 138, 139
Hamilton, Chico, 184, 184
Hammer(s), 49, 49
Hand clapping, 32, 86, 86
Harmonica: drum~, 148, 148;
glass, 156, 160, 160; lock, 146 Jury, Wilhdm, 94, 94
Hm, Mickey, 179, 119, Z11
Hart, Taro, 210, 210
Hatcnoganr, 80, 80
Hathor, 33
Healing. Su Drum(s), healing;
Rattle(s), healing; Ritual,
hea.ling
H~a nlxat . 88
Hidarsa, 132, 132
Hider. Adolr, 71, 73
Hogarth, William, 42. 42
Hohokam. 39, 39
Hokusai, 80, 80
Holbein the Younger, Hans, 112, Kettledrums , 61 , 61, 82, 82, 87,
llZ, 113, 113
Holy board. Su Sen12nuon
Hopi, 38, 110, 110
Hortator(s) , 55, 55
Hourglass drum, 16, 16, 52, 80,
SQ, 81, 8/. Su alro individual
drum names
How Univtm, tht Suprtmr &ing,
Makn Rain, 22, 23
Howard, Joseph, 158
Huthuttl, 39, 39. 99, 99
Human Drum, Tht, 68, 69
HUlIlhb4c/t oj Natrt Damt, Tilt,
(Hogo},178, 178
Hussain, Zakir. 217
Huxlq, Sir Julian, 14
Huygens, Chriuian, 17
ldiophone (s}, 14, 30, 37, 156,
156-61, 16Z-10
Jlib(s}, 198, 198
Inca, 69
1ndi" 16, 16, 82, 82, 83, 83,
119, 119, 123, 123, 209, 209,
210, ZlO
Indonesia, 12, 12,77, 77,79, 79,
121, lZl, 206, 206-7
Initiation ritual(s). Su Percussion Laughton, Charles , 178, 178
and initiation
Inkin, 156, 156
InstrumwlS. &t Percussion
instrum ~nts
In Tubalcaini Smithy, 49, 49
h"" ISO, 150
l"q, 32
Isis. 33
haly, 43, 43, lOS, lOS, 106, 106,
ISO, 150, 179, 179, 186, 186
Ivory Coast, 49, 51, 51. 54. 54,
88,88,91,91, lll, lll, 117,
m, 138, 138, lSI, lSI, 152-53,
lSZ-53, 190, 190, 193, 193,
196, 196
J ackhammer, 44, 44
Janissary bands, Turkish, 64
J'p,,", i6-41, 47, 80, 80, 81, 81,
122, lZZ, 144- 45, 145, 156, 156, Malinke, 160, 160
201 , ZOl
Java, 206, 207. Su also Indonesia Ml1i, 151, 151
Jm, 41,Il8, 184
Jingling Johnny, 64,64
John U, 19
Job,I,49
K.b", 31, 31
Kabuki drummers, 201, 201
Kachina, 110, 110, 111
Kaeppler. Adrienn~ L., 77
]('loli, 6, 198, 198
Kamayuri Indians. 133, 133
Karag.I.S, 125, 125
Karen people, Burmese, 206
Kauw, A., 115, 115
Klmpllr, 207, 207
KlmJan.g(s) , 206, 206
Kenya, 83 , 83
87, 200, 200; angds playing,
18, 18, 19, 19, 106, 106; demon Montfmand, Auguste
playing, 41, 41; in Chinese
Army, 67, 67; mechanical,
150. 150; on camelback, 58, 58, Moreira, Aino, 98, 98, 217
191, 191; on horseback, 60, 61, Morocco, 87, 87
70; skeleton playing, 113, 113
Khan, Hazrat Inayat, 193
Kin (bell), 156, 156
Kitaro, 201 , 201
K<>Ngai, 117, 137
Kodo, 144-45, 145,204- 5,205
Kor", 81, 81, 149, 149,200, 200 MriJangam, 209, 209
Koryak story, 23
Ko/suzumi, 80. 80
Krakatoa. 12, 12
Kromer, Martin, 49
Krupa, Gene, 184, 184
K"d,(s},79, 79, 199, 199
Kyl,";, 156, 156
Lagun2 Pueblo, 183, 183
Langenhodfel, Johann J. F..
lOS, 105
Langer, Suzanne, 30
Language, 30
Larmessin, Nicolas dc, 94, 94
Levi, Primo, 73
Lhendup, Dawo, 201, 201
Lie},(rman, Fredric, 12, 41 , 202
Lighming, 8, 8-9, 18, 18, 179, 179
ul,mI" 191, 191
Log(s}, hollow 31, 52, 74,
74, 152, 162, 211. Su oliO
Slit.gong
ugils Stowlon tilt Rainbou~ Tht, 19
Lokele, 53 , 53
Ludwig, Willi;un E. 63, 184
M acMurtri~ , Chico, 212, 212
MaJ(( ajayJul lWiu unto tilt
!.Md, 106
Malaysi2, 164, 164
Mandala, A., 88
Manjur, 130, 130
Maracas. 96. 96; origin of, 131.
Su also Ratd~ (s)
Mardi Gras. Su Carnolfai
Marimba, 206; portable, 91, 91
Mashoko. Simon, 196, 196
MMra, 196, 196
Membrane drum. S((
Membranophones
Membranophones, 6, 147- 51,
141, 148, 149, ISO, 151
Mr/llrnro mari, 112
Meteorites, 12
Mexico, 37, 31, 38, 38, 39, 39, 66,
67,99, 99, 151, lSI, 157, 157
Miango. 92. 92
Maku,f),o, 156, 156
Molenm, Jan, 95, 95
Monochord, 36, 36, 179, 179
Ricard, 168
Moon, Keith, 187, 187
Mf1rOpa, 195, 195
MOIorin, Ivan, 167
MOIorin, Mikhail, 167, 168
Mount, William Sidney, 181, lSI
Mozambique, 195, /95
Mozan, Wolfgang Amadeus. 40
Mu yll, 157, 157
Mursi, 91, 91
Music: and government, 35, 40;
and language, 30; origins of,
30; sacred, 40; trance, 119
Nada Brahma, 10, 17, 211
Nadel, Siegfried, 30
Nakm, 41, 41
Napoleon, 62, 62
Nature, percussive noise in, 13,
17, 38
Nat/bat, 82, 82
Navajo, 38
Ndengese, 90, 90
Near East, 32- 33, 32, 33, 84- 87,
8i, 85, 86, 81, 100-101, 101,
11 8, 118, 119, 119, 120, 120-Z1,
130. 130, 188-89. Sfr also
individual country tl2ITles
Ne",I, 127, 121, 128, 128, 200,
200
Netherlands, 61 , 61, 95, 95,
107, 101
New Britain, 199, 199
New Guin~a. S(( Papua New
Guine2
New Mexico, 38, 38
Newbolt, Sir Henry, 61
Ngo, 148
Nig~ ri a, 83, 83, 92, 92, 163, 163,
191, 191
Nois~. 10, 17, 30, 31, 40- 45,
70. 113, 162, 174; industrial,
45,212,212; instruments of,
30,43, 43, 161, 161,212, ZlZ;
of cities, 42, 44-45, 44, 45;
of nature, 8-9, 9, 13, 17; of
war, 56, 70; rhythmically
controlled, 48, 102. Sfr also
Rhyth m and noise
North America, 29, 37, 37, 38, 38,
39, 39, 74, 75, Ill, l3l, Ill,
m, lSI, 151, 158, 158, 1I1!r-86.
Sft also individual country
names.
O~Jaiko. Su Daiko, 0"
Oceania, 76-79, 76, 77, 78, 79,
191- 99,20Z
Ojibwa ,29
01,,1, 198, 198
Olatunji, Babatund ~ , 217
'O~ mou/a, 197, 197
Op~nh cim ~ [. J. Raben, 72
O range Fret State. 195, 195
O rchestra: bronze. 206, 206-7;
drum, 190, 190; gam clan. 206,
206-7; noise, 43, 43; of
skeletons, 112, 113, 114;
Western, 40, 42, 42
Origin oj tht Woodin Drum, Tilt,
24,25
O rigins: of music, 30; of
},(rcussion, 6, 30. Stt alro
Percussion instruments:
origin stories about
O lish,(s}, 6, 102, 138
Owl ,nd E,gle Lodge, 213, Z13
Pacheco, Candice, 212, 212
Pad, digitized drum, 211. 211
Palru, 148
Pai'J'CII, 203, 203
Pai l, five~gall on , 211, 211
Pakistan, 200, 200
Panco, Jose, 131, 131
Pam/dro, 140, 140, 141, 141
Pand~monium. Su Noise
Pans. 176. 176
Papago, 131, 131
Papua New Guinea, 6. 78. 78,
1l0- ll, lll, 154, 198, 198, 199,
199; ranles in, 130
P"ra ni '''0, 208, 208
PrJ""h, 198, 198
Pedestal drum(s). 90, 90
Penis sheath, gourd, 198, 198
Percussion instruments , 144-71,
144- 71; early, 13, 13, 30,
31-39; making of, 31, 152,
152- 53; origin stories about,
20-29, 21, 22,24,28, 131,
136- 37, 137; prohibited, 106,
138. Sit IS/SIS individual
imtrument m.mes and typts
Percussion: and initiation, 26,
110- 11, 111; and work, 49- 51,
49, 50, 51; origins of, 6, 30
Pcrsia, 56, 56- 57, 150, 150. Su
a/s" Iran
Peru, 37, 37, 68- 69, 176, 176
Peyote ceremony, 129, 129
Peyote gou rd, 159, 159
Pehriska,Ruhpa, 132, 132
Phelps, Tina, 212, 212
Philippines, 76, 76, 208,208
Picasso, Pablo, 104, 104
Pipe band, City of Los Angeles,
180, 180
Plane! Drum, 174; Foundation,
224
Plaque, ptrcussion, 156, 156
PliilW, 151, 151
Poland, 49, 49, 73, 73
Possessiontranc~. Su Trance,
possesSIOn
Powwow drum: origins of, 29
Psalm 150, 106
Pueblo, 38
Puente, TilO, 176, 176
M(s), 200, 200
Purim, Flora , 175. 175,217
Pythagoras, 179, 179
Qatar, 120, 120, 188, 188, 189
Quasimodo, 178, 178
~ macoatl, 151 , 151
Rashaida, 86, 86
Ratch~t, 71 ,161,161
Rattle(s), 156, 162; ancient
Egyptian, 32, 32, 33, 33;
ankle, 92, 92, 183, 183; belt,
goat,hooves , 130, 130; body,
83, 83, 130, 130; calabash,
117, 117, 158, 158, 191, 191,
196, 196; cocoon, 83, 8],
183, 183; dew,claw, 132, 132;
gourd, 37, 37, 38, 38, 39, 97, 97, Sctapcr(s), 156: bone 38, 38;
99,99, 131, 159, 159, 193, 193;
healing, 130, 130, 131, IJI;
in Ncw Guinea, 130; millet
stalk, 158, 158; pod, 79, 79;
raven, 158, 158- 59; shaman's,
130-33; tin-can, 83, 83, 96, 96, Senufo, 88, 88, 91, 91, Ill, 111,
130, 130. Su Ills" SistruIp.
Redmond, Layne, 32, 181, 181
Religion, 17, 103
Rembrandt van Rijn, 60, 61
Remington, Frederic, 67, 67
Revelation 4:5, 18, IS
Rt!,r/llritIH 4 St. J"hn tI,r Divillt, 18
Revolution, American, 62- 63 ,
62,63
Rhythm, 30, 31, 174; and dance,
7; and noise, 10, 17, 30, 31, 40,
48, 102, 174; and nance, 6,
105, 119; and work, 30,
49--51 , 49, 50, .51; machines,
human multidimensional, 174
Rice, planting of, 46- 47, 47
R;ch, Buddy, 185, 185, 209, 209
Rinpoche, Khamcul, 209, 209
Ritual, 30, 38, lJO- lJ, 127, 166;
agricultural, 46- 47, 47, 103,
140; bronze drum in , 206;
'Cham, 116, 116; dervish,
100- 1, 101, 118, 119;
Dionysian, 103; healing,
128, 128, 130, 130; initiation,
110- 11, 11 1; sacrificial, 34,
1JS, 135, 136- 37, 137;
Tawurawana, 133, 133
Rngl1, 200, 200
Roach, Max, 184, 184
Rock and ,oil , 40, 138
Rock Band, Richardsons '
Original MOllS!re, 160, 160
Rock(s): harmonica, 146, 160,
160; resonant, 30, 31, 31
Rougct, Gilbert, 139
Rowbatham, John Frederick, 131
Rudhyar, Dane, 38
Rudiments , European military
drum, 38, 70
Rumi, Jdaluddin, 120
Russolo, Luigi, 42, 43, 43
Rwanda, 90, 90
Sachs, Curt, 13, 53 , 85, 133
Sacrifice, 53, 152, 152; human,
134- 37, 134- 35, 137. 5<, ,I" 50111 4 t/I! Grral &1I, Tht, 136- 37
Ritual, sacrificial
Salish, 74, 74
Santeria, 138
Santo Domingo Pueblo, 126
Sanwala,82
Saran,77, 77
Schaeffner, Andre, 125, 128, 135, Sri Lanka, 166, 166
154, 160, 170
Schafer, R. Murray, 44, 49,
70,121
Schilling, Diebold, 57
mctal, 117, 117
Sculpture, pcrcussive, 212, 212
Seattle, Chicf, 161
Semalllron, 109, 109
Sen~gal, 93, 93, 121
117. 117, 194, 194; coastal,
151, 151
Shakespcm, William, 67
Shaman's drum, 20, 102, 125- 28, Sun, 12
125, 126, 127, 128
Shaman (s), 6,20,21,102,123,
12H8, 125, 126, 127, 128,
133, 133; burial platform of,
128. Sit air" Shamanism;
Rattle(s), shaman's
Shamanism, 17, 133
Shawm, 200, 200
Shrkrrr, 191, 191
Shiva, 45 ; Nataraja, 16, 16
Shunko, Katsukawa, 80, 80
Siberia, 20, 23, 125, 125, 126, 126
Side drum(s), 87, 87, 180, 180
Signal, noise and, 41
Signals, drum. Su Rudiments,
military drum
Sikkim, 124, 124,201, 201
Singapore, 120, 120
Sint Jans, Geertgen lot, 107
Sioux drum, 29
Sioux, 29
Sistrum, 33, 58, 172- 73, 173,
183, 183
Skcl"on (s), 112- 16, 112, 113, IN,
115, 116
Skull (s), 112, 112, 116, 170, 170,
171,171
SI",s, 41, 91 , 98, 138
Slit,drums. Sa Slit,gongs
Slit,gongs , 52, 53, 55, 55, 77, 77,
146, 156, 196, 196; giant, 159,
159; trapezoidal, 90, 90
Snare drum, 59, 59, 70, 96, 96,
/08, 112, 112, 181, 181, 184
Snare, gut, 108, 108, 112, 112
Solomon Islands, 77, 77, 161, 161,
197, 197, 208, 208
,£maz", 183. 183
Sonneborn, D. A., 116
Sotho, 195, 195
SOUlh America, 37, 37, 68,
68- 69, 98, 98, 133, 133, 140,
140-13, 175- 77. Sf( alsIJ
individual cou ntry names
Sptncer, Herbert, 30
Spoon (s). 87, 87
Stalaclites, 30
Stamping tube, 133, JJ3
Stan Icy, Sir Hcnry M. , 53
Slarr, Ringo, 187, 187
Stcel drum(s). Su Pans
Sticks , concmsion: 30. 31,31;
donga, 91, 91
Stillness, 119, 121, 122, 122- 24
Stonc(s). Sa Rock(s)
Stories, 68- 69. Su Ills" InSlru ,
mwtS, origin stories of
Stumpf, Karl, 30
Sufi (s), 100- 101, 101, 118, 119, 119
Sumeria, 6
Surdo, 141, HI, 143, 143
Surina.m, 97, 97
Surma, 91, 91
Swit:wland, 95. 95, 115, 115
robl, 85, 85, 120, 120, 188, 188 Tuui, 90, 90
Tabor, 113, 1lJ, 115, 115 Tuvalu, 198, 198
Tahit i, 1]4-35, 135 Two Nrgre Drmnmm Mellnud en
Taiko, ll6, 116, 144- 5, 145,201 , Mlllts, 6O, 61
201,204- 5,205
Taiwan, 157, 157, 203,203 Unitcd Arab Emirates. 84, 84
Talking drum, 52, .52, 54,54 United States, 44-45, 44, 45, 62,
Tambour, 32. Sa alre 62, 63,63, 66, 66, 67,67, 72,
Frame drum 72,97,97, 147, 147, 148, 148,
Tambourine, 105, 147; in 178, 178, 179-85,209,209,
Coldstream Guards band, 64, 210,210,211 , 211
64; skull, 116; women playing, Universe, beginning of, 11, 17
32, 85, 85, 103, 104, 104, 181 , Ur,32
181. Su a/s" Pal,drir"
Taos Pucblo, 183, 183 Venczuela, 133, 133
ro,(s), 188, 188, 189, 189 Vibration. 10, 11
Tawurawana, 133, 133 Vietnam, 202
Temple block, 156, 156, 157, 157 Viii, 150, 150
Temple dru m, antique, 149, 149 Vinayakram, T. H. "Vikku;' 217
Tmim, Abraham, 59 Vision of Tai{frlSthtr Womlln, Tht,
T~nor drum, 96, 96 28,29
Trponazrli, 39, 39, 99, 99, 157, 157 Voice, human, 106
Termites , 13, 14 Volcano. 12, 12
Tewa, 99, 99 Voodoo. Su V8dun
Tida, 189, 189
Thund ~ r, 9,13,1 8 War, 56-73, 56-73, 178, 202;
Tiber, 116, 116, 171, 171 , 193 Civil War, American, 65,65;
Timbalr(s), 176, 176 Crimean, 67, 67. Sa IIIsIS
Timbila, 195, 195 Revolution, American
Timeline,1 1- 18, 30- 39 Warao, 133, 133
Tin: box, 210, 210; ratde, 83, 83, Warousu, 197, 197
96, 96, 130, 130 Washboard, 180, 1&J
Til1ya, 176, 176 Washbuckct, mml, 42
Tlingi t, 158, 158 Watcr: ,drum, gourd, 160, 160,
Togo, 31 striking, 161, 161
Tom,tom , 184 Webb, Chick, 184, 184
Tomb figur ine(s), 34, 35, 34- 35 Webb<',John, 134- 35, 1JS
Toolmaking, 13, 13, 30 Woodblock, 184
Tools, 10, 13, 13, 174; sound, 30 Wooden drum (Dan l ~gend of)
Tortoise shell, 37, 37 24, 25
Trance, 6, 102, 105, 118- 21 , 118, Wmk, 30, 49- 51, 49, 50, 51
119, 120, 121; possession, 6, World Tree, 6, 7, 102, 127
130, 130, 138- 39, 138, 139 Wrecking ball, 45, 45
Trap SCI. Sf( Traps Wright, Larry, 211, 211
Traps, 38, 184, 184- 87, 209, 209,
210, 210 Xochipilli, 39, 39
Treanor, John "Mambo:' 180, 180 Xylophone(s), 93, 93, 112,
Triangle, 106, 106 112, 161, 161, 194, 194,
Trinidad, 142, 142, 176, /76 log, 195, 195, 206. Sf( also
Triumph of Drlll/" Tirr, 115, 115 Marimba; Tin,bila
Tsar,Kolokol, 162, 167- 69,
168, 169 Yakut, 128, 128
Tuehm.an, Barbara, 20 Yaqui, 183, 183
Tulku, Tarthang, 127, 148, 171
1illllblSga, 163, 163 Zaire, 53 , 53, 90, 90, 93, 93,
TimgJa al1lll, 201 , 201 lSD, 150
Tunisia. 36, 36 Zapotec, 37, 37
Turkey, 58, 58, 64, 64, 84,84, Zar, 130
100- 101, 101, 184
Turkish crescent. Sa Jingling indrx
Johnny 223
 ABOUT THE AUTHORS

Mickey Hart has been a percussionist with the Grateful Dead

for almost rwenty,five years. He is the author, with Jay Stevens, of Drummillg at the Edge aJ Magic
(1990). In addition, he is the executive producer of The Warld (Rykodisc),
a series of unique recordings of music from around the world. l-:Ian has also composed
music for several television and film projects, including
Apocalypse NaJv, The Nfl" Twilight Zalle, and Vietllam: A Televisioll History, and he serves
on the board of the Smithsonian Inscitution's Folkways Records.
He lives in Northern California.
Fredric Lieberman, Ph.D., has taught at Brown University, the
University of Washington, and the University of California, Santa Cruz, where he is currenrly
professor of music and chair of the music department. He has served
as editor of the journal Etlmomflsicology and produced field recordings and films, and
he works with Mickey Hart on Tire Warld recordings. He is the author of A Chillese Zither JiltOr,
Chinese Music: All AlIflotated Bibliography, and numerous anicIcs on Chinese and other
Asian musics. His current interest is American popular music.

D. A. Sonneborn is an ethnomusicologist, teacher,

award. . winning composer of music for theatcr, dance, and film, and the author of several articles
on music and mysticism. He lives in San Anselmo. California.

THE PLANET DRUM FOUNDATION

of San Francisco is commilled to a synthesis of people and habitat through bioregional
education. This is a step beyond conservation toward an awareness of
ecological issues based on concern for the unique natural features of local bioregions.
Visions of a positive urban future, such as A Creell
City Program for tire &111 FrOllCisco Bay Area & Beyolld, are among their published offerings.
For further information, write P.O. Box 31251, San Francisco, CA 94131.

A NOTE ON THE TYPE

Plallet Drum was composed at Triad on [he Macintosh.

Type families are Poliphilus, Blado, Van Dijck, and Grotesque from Monotype,
and Avenir, ITC Stone Sans, and Lithos from Adobe.