Israel's Music-Lesson in Egypt Author(s): Jeffrey Pulver Source: The Musical Times, Vol. 56, No. 869 (Jul. 1, 1915), pp. 404-407 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/909271 Accessed: 22-02-2016 04:36 UTC

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This content downloaded from 194.27.18.18 on Mon, 22 Feb 2016 04:36:49 UTC All use subject to JSTOR Terms and Conditions 404 THE MUSICAL TIMES.-JULY I, I915.

ISRAEL'S MUSIC-LESSON IN EGYPT. that during four centuries of such conditions the music of Israel and that of Egypt became, for all BY JEFFREY PULVER. practical purposes, identical. About thirty-two centuries ago the sandy shores of Let us glance at the condition of the country at the the Red Sea witnessed a remarkable sight. A huge time of Israel's arrival. Egypt was undoubtedly the band of fugitives, numbering, we are told, six hundred cradle of the arts, and in that of music we know her thousand male adults in addition to a comparatively to have been pre-eminent. We are supplied with large number of women and children, stood on the information in this respect more fully than in the case littoral and gazed in awe-struck amazement upon the of any other ancient nation ; the tombs of kings and overwhelming disaster that overtook the pursuing priests, mural paintings, and inscriptions tell us of a host. Gratitude to a beneficent Providence for their musical activity and excellence that are astonishing. escape opened their lips, and their leader sang: We find illustrations of instruments that for beauty 'I will sing unto the Lord, for he hath triumphed of design, soundness of construction, and musical gloriously: the horse and his rider hath he thrown efficiency, stand high above those of even much into the sea' (Ex. xv., i.). That band of emancipated younger peoples. The pages of any history of Egypt, bondmen was destined to have a greater influence on and notably those of Wilkinson's 'Manners and the morals and religion of the civilised world than any Customs of the Ancient Egyptians,' provide sufficient other nation of antiquity. But besides this distinction evidence for the most sceptical. The arts flourished, the newly freed people possessed another: in an art and wondrously perfect instruments of music were necessitating the highest mental development they used, long before Joseph was made Grand Vizier. attained to a degree of excellence unequalled in any Harps, lyres, and three-stringed guitars, besides the other nation,-a precedence which they have, to a usual wind and percussion common to even primitive certain extent, held until the present day. nations, were in everyday use 'from the earliest The Israelites of the Patriarchal age were not periods of their known history' (Wilkinson). The musical in the technical sense; they were a Egyptian himself was easy-going, simple, and fond of his was his comparatively small clan of pastorals ; they possessed innocent amusement ; first object to enjoy as he could in accordance the poetry of pastorals used in combination with the earthly life as thoroughly and music of pastorals. They had the heart and the with the tenets of his faith; his aims were lofty a love the inspiration, but they had not the science. In Egypt sincere, and he had well-developed for they learned how to adapt the marvellous instruments Beautiful. Could such a people as the Israelites- possessed by their hosts to the requirements of their who were and are ever ready to assimilate the good latent desire for musical expression. When the family things of their hosts and neighbours-be left untouched such a of Jacob arrived in Egypt they found a hearty welcome by an art that had already reached high plane first awaiting them: the rulers were Hyksos-Shepherd of excellence in Egypt? Joseph was not the of Abraham's Kings-and in tastes and habits these must have had Semite to see Egypt: from the time much in common with the Israelites. The Patriarch visit onward such wanderers often came and went, been settled at Heliopolis (On) in the land of Goshen, a and thus Israel could not have utterly ignorant banks of the Nile. district populated by a mixed people-partly Egyptian, of what awaited them on the partly alien. In such surroundings they could The invasion of the Hyksos was not a crushing blow develop whatever traits they possessed without to Egyptian progress: Manetho says there was not attracting too much attention to themselves. They even a battle ; and the onward march of development had brought with them the Kinnor and Ugav invented in the arts could not have suffered any great check. by Jubal (Gen. iv. 2I)-possibly improvements upon Under this sympathetic regime the Israelites them, and also certain Syrian instruments that they commenced to take their music-lessons from their had learned to use from their erstwhile neighbours. Egyptian teachers. But before inquiring into the state But between these comparatively primitive of music in Egypt, it will be well first to ascertain instruments and the musical glories of the Temple which period we have to consider. The date of the there was great disparity, and it is in Egypt that I Exodus is variously given: we need not now go into seek the source of Israel's real musical greatness. the details that rightly occupy the pages of histories of The soul for the art was their divine gift ; it was from Egypt; for our present purpose a date that will allow the mathematically-minded physicists of Egypt that the main facts of history to fit in will suffice. The they learned how to make of music a science as well cities of Pithom and Raamses were built before the as an art. departure of the Israelites-that is certain; and this others that need not be mentioned When attempting to seek proofs and reasons for fact, in addition to after the of these statements we must keep three points in view. here, must place the migration reign that of one of his two The first is that Israel was long enough in Egypt to Rameses II., and during II. become Egyptianised in every respect except in immediate successors, Menepthah (Mer-n-Ptah), Sethos The latter religious faith,-and even in that, there is evidence to or Seti II. (Manetho, Ramesses). the date B.C. the be found in the Chapters of the Exodus dealing with would give us I270-I250 Adding of the to the wandering. in the Desert to show that this also four hundred and thirty years sojourn this, Between these two was, to a degree, influenced by Egyptian thought. we arrive at c. I700 B.C. dates, evidence to The second is that although the Egyptians incarnated then, we have to examine the relating their deities to satisfy the popular mind, there was Egypt's musical activity. otherwise very little difference between their views of The pictorial representations of instruments, life in general and those of the Israelites, and many musicians, dancers, &c., on the tombs, appear very of their manners and customs were identical ; we can early in the history of Egypt; they include singers, thus expect them to sympathise with one another and flute-players, harpists, lutists and others, and we find thus learn from each other. The third point is that them in almost every period, only differing in the stage Israel did not groan under the goad of the taskmaster of development of the instruments and only absent all the time of their sojourn, and that before the during the periods of invasion and war. The harp was accession of the Pharaoh 'who knew not Joseph,' of native Egyptian origin, and passed through a long they enjoyed a long period of peace, prosperity, and process of improvement: beginning with a simple development. I do not therefore think I shall be curved support holding a stretched string, and ending accused of taking too much for granted when I assert with the wonderful creations that Bruce discovered on,

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and copied from, the walls of a Theban sepulchre. otherwise it would be but reasonable to expect two such These last belong to the reign of Rameses III., and are nations of scribes to have left documentary evidence thus later than the Exodus; but in no country could of the art. I do not consider the sign-system used by such magnificent instruments-over six feet high and the Jews to indicate their cantillation a system of beautifully made and ornamented-be developed in a musical notation. No written music of any sort has short time ; and if the Israelites did not actually see been discovered, and we can only guess at the nature the final triumph of the Egyptian harp-maker's art, of that performed in Egypt. It is highly probable they saw enough of the intermediate stages to show that Greece, much later, borrowed her tetrachord them the possibilities of the instrument that attained system from the land of the Nile, and there should be to such an important position in the Temple of more than a suspicion that Israel also took away with Solomon. This last statement depends upon our her that basis for furtherdevelopment. The character correctness or otherwise in translating the Hebrew of the Egyptian vocal music-and especially that of Kinnor by 'Harp'; there is another instrument, the sacred music-must have been noble and moving: which will be mentioned again later, that seems to if it had anything of the simple grandeur of the verses agree with the descriptions of the Kinnor more closely. which were set to it, it must have been capable, as However, there can be no doubt that Israel did use Naumann says, of very great effects. the in the same as it was used in and harp way Egypt, The Israelites, then, were assimilating all this Assyria also. Better than any description is a view of musical lore and were it in their own one of these instruments. we do using expressive Although not, manner; at the same time Moses was being brought unfortunately,possess a specimen of the larger harp, in the and all the the British Museum has at least one up priestly colleges acquiring very interesting knowledge of the ptiests, music being one of their example of the smaller hand-harp. This belongs to chief assets. It was then that the character of the the and would date from about Eighteenth Dynasty, ruling house changed. In c. I600 B.C., Amasis I., I450 B.C. The Nefer, a species of guitar, was also - expelling the Hyksos, established the Eighteenth very popular; it was a three stringed instrument of The with a on a fretted Dynasty Egyptian kings (from Thebes). long neck, fingered fingerboard- sympathies that had existed between alien kings and arguing the existence of music in a highly-developed alien settlers were Soon the rulers state. Wind instruments are gone. expected represented by serf-labour from the honoured immigrants of a single and double pipes (with finger-holes), and and later the labour was demanded for and a rich of century back; trumpets military uses; array without recompense. Then blows were added, and percussion-tambourine, drum, gong, bell, cymbals, with the accession of Rameses II. we arrive at the &c.-is also found The art seems sistrum, portrayed. period when the oppression became unbearable. The to have been seriously studied, and pictures of music- of souls had now to be a schools are from the family seventy by grown forthcoming: one, dating nation, and it grasped its staff and set out for a Eighteenth Dynasty (c. I370 B.C.), shows a variety of land. the manner after which were used. promised instruments,and they Israel the of the Several paintings show concerts and musical entertain- during years wandering in the ments of almost sort. The maintained a Desert is interesting because here we obtain occasional every wealthy of the paid staff of musicians, and every banquet was accom- glimpses Egypt through newly re-acquired vocal and instrumentalmusic. Blind exterior of the Hebrew. Sir John Stainer thinks panied by singers, that 'the of Moses was their melodies strengthened by flutes and accompanied glorious song most probably were a common and women with sung to some simple Egyptian chant, well known and by harps, feature, It is a castanets or cymbals marked the time while others popular.' only supposition, of course, and I do danced. And if music such an exalted not think it is strengthened by the fact that the text occupied was as Moses was initiated in place in the secular life of the Egyptians, we find it extempore ; still, all the a still more role in their lore of the Egyptian priests, and, as the writer of the playing important religion. Acts of the Large bands of singers were attached to the temples, Apostles (vii. 22) says, was 'learned in whole families often all the wisdom of the Egyptians,' he might conceivably being employed together ; hymns have his verses to a well-known were sung solo, and the refrain chanted by a chorus ; adapted Egyptian air. and sacred dances were to the 'Then took Miriam the prophetess, the sister of performed rhythm- a timbrel in her and all the maintaining sound of cymbals, bells, and sistra, Aaron, hand; women around the of the deities. All these went out after her with timbrels and with dances' representations xv. That the women things we see repeated in the religious services of (Ex. 20). should go after her Hebrews and Christians. Wilkinson ' Like the with dances is again a circumstance reflecting scenes says: from the Nile. before the accession of Egyptians with whom they had so long resided, and Shortly the of whose customs the Eighteenth Dynasty we see the men graduallybecoming many they adopted, Jews scarcer in the of the music and carefully distinguished sacred from profane music.' representations dances In the 'sacred musicians were of the order of used in conjunction with the funereal rites of Egypt, Egypt and after this line had been in for a priests, and appointed to the service like the Levites power but short the and the sacred bands time, we see this part of the ritual almost exclusively among Jews; Egyptian in the hands of the women. The which were probably divided and superintended in the same instrument, in manner as that from so careful the English Bible is generally given as ' timbrel,'would among people.' This, have been the small an authority as Sir J. Gardner Wilkinson, must be Egyptian hand-drum (Hebrew, considered; but I would rather read: '. . . the Toph), or a species of tambourine. In many Egyptian sacred bands of the were divided and wall-paintings we see this instrument in the hands of Temple women superintended in the same manner as among the taking part in processions, the tambourine The ritual too-another inherit- used being not only circular, but often oblong with Egyptians.' dance, incurvedsides. It was but naturalthat these ance from Egypt-was much employed by the Jews thoroughly (vide article'The dance in Commtmonwealth,Egyptianised women should reconstruct such a pro- my religion,' cession when there was occasion for April, 1912). rejoicing. As soon as discontent showed itself, Egypt again made her But although we know so much of their instruments influence felt; the bull of Apis was modestly imitated and of the uses to which they were put, we know very by a calf of gold, and the Egyptian ritual dance was little of the music itself. The Egyptians, like the Jews, performed. Moses and Joshua, descending from the seem to have had no regular system of notation, for Mount, heard the jubilant noise of the imitation

This content downloaded from 194.27.18.18 on Mon, 22 Feb 2016 04:36:49 UTC All use subject to JSTOR Terms and Conditions 4o6 THE MUSICAL TIMES.-JULY I, I9I5. idolaters (Ex. xxxii. I8, I9): it was a 'noise of them possession of Israel, a legacy of the days of the that sing'; and 'when he came nigh unto the camp Patriarchal herdsmen. But after the Exodus they *.... he saw the calf, and the dancing,'-so also had trumpets of metal. These we find in Egypt thoroughly had Israel learned her lessons in Egypt. in nearly all the pictorial representations of military On this occasion the cymbals were also most probably activity; the troops were summoned by drum and employed. In Egypt they were in very common use trumpet, the latter being a perfectly straight tube to mark the time for the dancers, and in the religious opening out towards one end into a bell. In a mural cult they found a place. In the British Museum may painting on the tomb of Horemheb we are shown be seen the mummy of a priest who was buried with half-a-dozen spearmen and an officer parading; in his cymbals, the latter being at present exhibited in front of them stands a 'bugler' blowing such a the same case. With the Jews they had the trumpet. This instrument, increased in size and onomatopceic name of Tziltzelim (Tziltzi), and they wrought in precious metal, would bring us to the true are mentioned in Ps. cl. The Egyptian Sislrum, too, Hebrew trumpet-the silver instruments, generally was borrowed by the Israelites. In its original form mentioned as being in pairs; this was the Chatzozeroh, it consisted of a racquet-shaped frame of bronze having which is represented on the Arch of Titus, and transverse bars or rods (generally three, though four concerning the shape of which no doubt can exist. are to be met with) that, fitting loosely in the frame, One more instrument deserves mention because it produced a jingling sound upon being shaken. Often was most probably of Israelitic origin, and not metal rings were strung on to the bars to increase obtained from Egypt-the lyre or Kithara. At about their noise-producing powers. The instrument, the time of Joseph's arrival in Egypt a scene was if it can be so called, was chiefly used in painted on the walls of a tomb at Beni Hassan Egypt as an adjunct to the religious service- representing the arrival of strangers. The latter are principally of Isis-and its handle was often depicted as being lighter in colour than the Egyptians, ornamented with one or other of the attributes of they are distinctly Semitic in features, and they have this goddess. When a priestess died, her sistrum black beards, a facial ornament that the Egyptians was buried with her in the same way as in the case did not affect. Some writers think this picture of the cymbals already mentioned. Its use was, I represents the actual arrival of Jacob and his family, suppose, to call attention to certain passages in the and, but for discrepancy in their numbers, it could service, and Papyrus No. 1425, containing the conceivably do so. Sir J. Gardner Wilkinson gives Laments of Isis and Nephthys, has the phrase the illustration in his 'Manners and Customs, &c,' 'Behold the excellent sistrum-bearer' several times; and describes it together with the lyre that one of the British Museum Papyrus No. o1088 also shows the men is carrying. He says : 'If . . . the strangers sentence or a variation of it some half-a-dozen times. at Beni Hassan should prove to be the arrival ot The instrument was also used on the battlefield- Jacob's family in Egypt, we may examine the Jewish whether to invoke divine aid, or to intimidate the Lyre drawn by an Egyptian artist . . .'; the man enemy with the sound, I cannot say-and it figured in carrying the instrument is one of the last of the royal processions. The Israelitic sistrum differed, procession and he is playing it with a plectrum. according to the illustration in Hawkins 'History of Wilkinson goes on to say that 'the lyre is rude, and Music,' in having a circular frame with metal rings differs in form from those generally used in Egypt.' strung on to a single bar. The Hebrew name for it This is without doubt the Kinnor of the Bible; it was seems to have been the iMenane'imz mentioned in the instrument said in Genesis to have been invented II. Sam. vi. The Authorised Version or used and it is also named ' 5. erroneously by Jubal, very frequently has cornets' at this place, ' cymbals ' not being applic- in the Psalms. There is every reason to believe that it able, as the word betziltzilimi (= with cymbals) is thus was this Kit/hara that David used ; at any rate, we find translated. A Viennese translation in my possession such lyres-differing in shape and construction, of gives nzenane'im as 'bells,' which is possible though course-as late as the Maccabean period, when they not probable. Winer and Saalschtitz (to quote Carl are to be found represented on coins. Egyptian forms Engel) think they see in this word the Hebrew for of the instrument are preserved in the Museums ot sistrum, and Newman (I832), connecting menane'im Leyden and Berlin. It can be seen at once from these with nu'a=shaken, strengthens this supposition, since specimens that they differ from those depicted at the sistrum was the only instrument of percussion that Beni Hassan; but whether the Egyptians improved was played exclusively by shaking. The Vulgate, also, upon the Israelitic instrument, or whether the Jews translates it as 'sistrum.' The bell was also used by adapted some of the better points in an instrument the Israelites, and was called Pamon; we find it thus already naturalized in Egypt to their own, it is named in Ex. xxviii. 33, 34, where we are told that impossible now to say. But in any case neither of golden bells and pomegranates were to be sewn the two forms is of purely Egyptian origin; if the alternately on to the hem of the High Priest's people of the Nile did not have it from Israel, they garments. This use is exactly the one to which the received it from some other Asiatic immigrants, Egyptians put the small bell; the British Museum and it has not the same monumental antiquity in has several such instruments that were once most Egypt as have the simpler forms of the harp. Thus probably used on the priests' robes. The smaller Israel may possibly have made some small return for ones, which were used for this purpose, vary from the many musical lessons it learned there by three-quarters of an inch to about one and a-half suggesting the lyre to the Egyptians. The Greek inches in height. The Israelitic custom of having Kit/ara was very like these two forms, except that it bells on the priest's robe no doubt survives to-day in was probably much improved before it became the bells that adorn the ornamental crowns on the popular in Greece. Scroll of the Law. It will not be possible to mention the other In Ex. xix. i6, I9, and xx. I8, the 'trumpet' is Hebrew instruments, such as the Ugrav (pipe or mentioned. In these passages the word shofar flute, variously translated in different Bibles as 'wind- would have been better translated by 'horn.' The instruments,' 'flutes,' and even 'organs'), the Nevel shofar was the ram's horn, still used to commemorate (nablum), Minimt (Hebrew : Mini, Minim strings of the orders given in Numbers, x. 2, et seq., by the Jews an instrument), used to name an unknown stringed of the present day in the Service for the New Year. instrument, or to designate the family of 'strings' This instrument was most probably an ancient collectively, and others. The Kithara was noticed

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because it is possible that Egypt improved it; this shee committee is convinced, moreover, from its considera- may have done for the others, but we have nc tion of the numerous cases which have come before it, a documentary or pictorial proofs. that the circumstancesof large number of the applicants All I have written was not set down to rob thee are such that means do not exist for the efficient Israelites of all their musical initiative it was maintenance of the instrument and for the salary ; only my of a should an intention to show how much of her music she owed tc properly qualified organist organ be acquired. In such cases it is evident that Egypt, and to show that besides being influenced by the5 the of such cannot be realised. land of in her music primary purpose grants the Pyramids many things, alsc ) Unfortunately, many churches have so meagre an income was developed, improved, and put to a multitude olf that the salary of the pastor is a mere pittance, and uses in Egypt. Every oppressed nation becomes s the ordinary church expenses are barely met; in many music-loving; or, better said, oppression will bring Y, instances also, there is a heavy burden of debt. If in these out the music that is latent in any nation, and Israel I cases there have to be added the upkeep expense of an organ undoubtedly had a very great aptitude for the art. AllI and the salary of an organist, the general financial circum- she needed was to learn how to make artistic instru- stances of the congregation are unjustifiablystrained. The ments of musical I larger interests of such applicants would probably best be capable giving again premeditated an and to base her music a that t studied by refusal of their request for what must prove thought, upon system additional burden on their resources. permitted of the development of form and harmony. While claiming that for these purposes Egypt was anI ' DISCONTINUANCE OF ORGAN GRANTS teacher, it must also be conceded I exceedingly good FOR THE PRESENT. that Israel was an amazingly good pupil. 'After careful consideration, the executive committee during the course of the year announced publicly that the Trustees could not undertake in the meantime the considera- THE CARNEGIE tion of further applications for organs, in view of the large TRUST. number already submitted, and the heavy expenditure involved by the favourable consideration of even a REPORT OF THE EXECUTIVE COMMITTEE portion of them. The numberof new applications submitted AS TO CHURCH ORGANS. between the date of the formation of the Trust and the date of this announcement amount to I,044. These This Trust was brought into being in October, 19I3, I applications will be considered as rapidly as possible, but for the purpose of administering the interest derived I after decisions have been arrivedat upon them, the executive from over ?2,000,000 provided by Mr. Carnegie to committee proposes to suspend, until further notice, the aid in the erection of public libraries and to assist t resumption of its activities in this direction. The churches of all denominations to acquire organs. result of this decision will not mean that grants for organs The Trust took this after the fund I will forthwith be discontinued, since a considerable time up responsibility will before the on which had been managed by another organization. The I1 probably elapse conditions, are made, will be fulfilled. The first annual report of the executive committee of f promised grants raising the I locally of one-half of the cost of the instrument will new Trust has just been issued. We quote be one of the conditions to be satisfied the that have to do with necessarily precedent paragraphs organs. to the payment of a grant, and in most cases of the kind 'The first step taken by the executive committee was to which call for consideration under the instructions of the inquire into the general results of the expenditure made by7 Trust Deed, local endeavour has to be exerted for a Mr. Carnegie, and latterly by the Carnegie Corporation ofr prolonged period before the necessary funds are obtained, New York on his behalf, in providing church organs andI and the promised aid can be claimed. Promises of public libraries in the United Kingdom. To assist them in conditional assistance cannot, however, be made valid for these inquiries they invited Mr. David Stephen, Principal of an indefinite period, and a reasonable time-limit will have the School of Music in Dunfermline, to report on the I to be imposed within which the aid of the Trust may be influence on musical culture exerted by Mr. Carnegie'sorgan claimed. benefactions. 'There are doubtless other means by which the love of CHURCH ORGANS. music may be fostered and Mr. Carnegie's desire realised. It be 'Mr. Carnegie has expended a sum of about ?500,000 on may possible to render financial assistance to various assisting in the of churches of all denom- musical activities which already exist, or which may hereafter acquisition organs by be inations in the United Kingdom. His avowed in initiated, for the benefit of the masses of the people. On purpose these the committee has not making this expenditure was in the first place to improve the questions, however, executive service of praise, and by the interest in music thus created to had sufficient time or opportunity as yet to come to any even of a tentative or nature.' extend the knowledge of and love for music throughout the decision, experimental community generally. The grants were made on the condition that at least half the cost of the instruments was met by local endeavour. In addition to the sum mentioned DEATH OF DENIS BROWNE. above, the Trustees have a further sum of paid ?26,864 music suffers during the period under review, in fulfilment of out- English a heavy loss by the death of standing promises, . . . which were current at the William Denis Browne, who was killed in action at the inception of the Trust. Further there existed a large on June 7. He was of Irish descent, number of other cases in which, although a definite promise though born in England, being great-grandson of the had not been given, preliminary correspondence had taken Hon. Denis Browne, whose elder brother became first place and substantial expectations of assistance had been Marquess of Sligo. Educated at Rugby, where he created. Investigation of these cases resulted in definite received a thorough grounding in music, he came to of assistance promises being given to the extent of ?25,419. Cambridge in October, I907, as a classical scholar of Thus a total sum of about has been or will be ?55o,ooo Clare College. He did well in the classical tripos, expended on this form of benefaction, and this sum and in I9Io became organist of his College. It was represents grant aid for the acquisitionof about 3,500 organs. 'The Trust Deed in its recites Mr. mainly owing to his energies that the beautiful new preamble Carnegie's was built. He was a of Dr. view that "the calls for organs will decrease considering the organ pupil large number already if it be under- for composition and of Dr. Gray for organ. He also supplied, particularly studied stood, as I desire that it may, that only such congregations the pianoforte with Miss Ursula Newton, a shall receive grants as are in needy circumstances and pupil of Busoni. He soon became the leader of unable to provide organs for themselves." The figures undergraduate music in Cambridge, being an accom- quoted above indicate the very large number of congre- plished pianist and having a great gift for conducting gations which have been assisted. The executive and organization. He was an intimate friend of

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