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From Angels to Orchestra (PART I): an Iconographic History of the Triangle Through the 19Th Century by Mark Berry - Last Revision 09/22/2016

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From Angels to Orchestra (PART I): an Iconographic History of the Triangle Through the 19Th Century by Mark Berry - Last Revision 09/22/2016 from Angels to Orchestra (PART I): an iconographic history of the triangle through the 19th Century By Mark Berry - last revision 09/22/2016 Antiquity – 3000 B.C. through 30 B.C. The history of the triangle begins in antiquity, ca. 3000 BC. Some scholars consider the triangle to be descended from an instrument called the sistrum. The sistrum was basically a rattle comprising an arch with a handle attached. The arch had a number of crosspieces that sometimes suspended several metal discs. When the sistrum was shaken, the crosspieces and discs rattled. The sistrum can be found in Egyptian tomb and temple imagery in a religious and ceremonial context. The handle was often decorated with the head of Hathor, the ancient goddess of music, symbolizing adulation and devotion to Hathor. It was often made in the shape of the Egyptian ankh, symbolizing life. 30 B.C. through A.D. 450 The use of the sistrum in a religious/ceremonial context continued even after the age of the Pharaohs. The Roman conquest of Egypt in 30 BC helped spread the use of the sistrum, with a Greco-Roman interpretation/symbolism. By the 1st Century AD, the Hathor heads that had previously been common on the sistrum handles were now depicted as Isis, the cult god popular during Roman times. In the first centuries A.D., as Christianity began to spread outward from Jerusalem, a style of sistrum call tsenatsil began to be used in Ethiopian Orthodox church ceremonies. The tsenatsil has remained a liturgical instrument in the Ethiopian Orthodox Church throughout the centuries and is played, to this day, during the dance performed by the debtera (cantors) on important church festivals. In modern times the Coptic Orthodox Church uses an instrument called muthallath in their ceremonies, which is essentially a modern percussion triangle. The muthallath is played in conjunction with small cymbals. The Copts are considered direct descendants of ancient Egyptians, but it is not known when the muthallath came into such use. It is presumed to be in more modern times--within the last few hundred years, as it is not mentioned in the early writings or iconography of the church. Middle Ages (450-1390 AD) - The First Triangle? Historically, when do we find the first account of a triangle? "An early mention of the triangle is found in a 10th-century manuscript. Here the instrument is without rings." - Stanley Sadie, The New Grove Dictionary of Music and Musicians, "Triangle" entry written by James Blades "Yet the first mention we find of a triangle in a tenth-century manuscript, is of an instrument without rings" - James Blades, Percussion Instruments and Their History, 1971 "Though the triangle is so frequently illustrated with rings, the earliest mention of the instrument (in a 10th century manuscript) refers to an instrument without rings." - James Blades, Percussion Instruments of the Middle AGes and Renaissance: Their History in Literature and PaintinG, 1973 In three separate, prominent publications, James Blades writes just a sentence or two indicating that the first historic account of a triangle is found within a tenth-century manuscript. Unfortunately, within these writings and others, Blades never states what manuscript he was referring to. The book, Le Percussioni, by Guido Facchin refers to "a tenth-century manuscript of Saint Emmeram, preserved in the library of Monaco", but, like Blades, says nothing further. In his book, The Arts in the Middle Ages and Renaissance (pub. 1870), P.L. Jacob shows an image labeled, “Triangle of the Ninth Century. (MS. of St. Emmeram).”, but does not provide any further information. Scholarly writing, including The New Grove Dictionary entry, has for decades, remained vague regarding the so-called "first mention of the triangle". Questions quickly arise. What was this 10th century manuscript that Blades and others mentioned? What was the title? Who wrote it? What does Blades mean when he says a "mention of" the triangle? Text? Descriptions? Iconography? There are thousands of extant medieval manuscripts, so, which one is being referred to? What the above sources refer to, but never cite or identify specifically, are a manuscript now housed in the Bayerische StaatsBibliothek (BSB) in Munich, Germany. With the help of the library staff there, I have recently been able to see the manuscript and locate the image that has been so abstruse in percussion scholarship, for so long. The manuscript is catalogued BSB Clm 14523 under the title, De Musica by Anicius Manlius Severinus Boethius. The BSB catalogue lists the date of the manuscript as 10th - 13th century. Some scholars say it is from the late ninth century. The manuscript was held at the library of St. Emmeram (which held thousands of medieval manuscripts) until the early 1800's when it was moved to the library in Munich. Though De Musica is catalogued listing Boethius as the author, the manuscript includes several writings by other authors including, Walahfridus Strabo, Hieronymus Sophronius Eusebius/pseudo-Hieronymous, Isidorus Hispalensis, and Guido Aretinus. Of primary importance to the modern percussionist is the section of De Musica entitled, Hieronymus Ad Dardanum de diversis Generibus musicorum, questionably authored by Hieronymus Sophronius Eusebius, also known as Saint Jerome. Scholars disagree as to whether this section was actually written by Saint Jerome, or whether it was written by Pseudo-Jerome. Pseudo-Jerome is a term used by scholars to identify the numerous authors who were mistakenly thought to be, or were asserting to be, Saint Jerome. This section of the manuscript lists, describes, and provides drawings of what are thought to be ancient Greco-Romans musical instruments, although some have argued that they are actually fictitious and/or dramatized. The page of De Musica shows a 24-stringed kithara, a 10-stringed kithara, a cymbalum, and a 4-stringed chorus, each labeled accordingly. There is a circular object above the 4-stringed chorus with no descriptions or labels. Lastly, below the chorus, lies the triangle in question. In comparison, the image from P.L. Jacob's book is slightly different from the one found in De Musica and again, it is unfortunate that Jacobs does not discuss or cite it. De Musica - Boethius (10th-13th century) Alas, the image found in De Musica, the image that Blades and others have called "the first mention of a musical triangle" is problematic. Even if one overlooks the uncertain credibility of the authorship, and the potentially dramatized depictions of (Ps.?) Hieronymous' musical instruments, the image remains unconvincing as a musical triangle. The image found within De Musica is most likely not a triangle, and most likely not a musical instrument, for the following reasons: • there are no headings or descriptions pertaining to the image - all other instruments have headings/descriptions • there are four pages of text within Hieronymus Ad Dardanum de diversis Generibus musicorum, describing each of the instruments, but there is no mention of the triangle or triangular shape • the small size and lack of color reinforce the idea that these are not part of (Ps.) Hieronymous's musical instruments • the image is not included or mentioned in subsequent copies, printings, translations, or scholarship throughout the centuries • the image does not show a triangle beater/striker or method of suspension • the image appears to be two-dimension, flat, and thin. It appears to be more decorative than functionally musical • the circular object above the 4-stringed chorus, though not a triangular shape, has similar thin lines, no headings or descriptions, and looks out of place much like the triangular shape What is it then? Perhaps the triangular shape is a depiction of a plectrum for use with the Kithara? Perhaps it is a bit of quasi Hiberno-Saxon insular art "doodling?" Though not convincing as a musical instrument, it is definitely worth investigating, and it is definitely worth making it known, given that prior percussion scholarship alluded to it prominently, but did not offer specifics. Moving on, we do not find the triangle in Middle Eastern, or Greek and Roman music and art. What we do find is the emergence of the triangle starting in the 14th century onward via European iconography. The triangle is most often found in a Christian religious context -- on paintings, altarpieces, ceiling vaults and naves, illuminated manuscripts, cathedral organs, and stained glass. Triangles prominently appear with sacred icons and instruments, giving the sense that it was a long-standing part of Christian symbolism.---that it was a recognizable, accepted, and significant instrument. It is plausible that the triangle was occasionally used as a part of religious services, despite the timeless struggle between the Church and its relationship with musical instruments and rhythm. Given its simplicity, and its loud rhythmic nature, the triangle was a likely candidate for use in secular and folk music as well. Why the previous centuries are nearly void of written account or iconography remains a mystery. Perhaps the popularity of the triangle arose gradually in the 14th century—this seems plausible. Historically, other musical instruments have gained acceptance in a comparably short time. Or, perhaps, the triangle came rapidly to the fore, in conjunction with the rise of Marianism and Marian iconography? Perhaps with anGel and winGed-anGel iconography? Or could it be that centuries of Christian iconoclastic disagreements kept the triangle hidden? Evolution or Independent Development? Did the triangle evolve from the sistrum? Some scholars have written that the triangle is a direct descendant of the sistrum. James Blades does not go quite so far, referring to the triangle as being "allied" with the sistrum throughout history. If the triangle were a direct descendant, somewhere in history between the time of the Pharaohs and the Renaissance, we would expect to find a direct connection between the sistrum and the modern triangle.
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