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strikes the strings with a plectrum, while his left hand also seizes or touches the strings. This instrument found wide circulation. It became later transmitted to the Greeks as their magadis and was in use during the Middle Ages under the name of psalterium. The name itself is very old; cf. the Greek translation of nebhel by psalterium, and the Aramaic pesanterin (Dan. iii. 5). Under this name, in turn (santir), the instrument has maintained itself among the Arabs down to to-day. As a foreign instrument, moreover, there is also mention in the Old Testament of the sabbekha, " sackbut " (Dan. iii. 5, 7, 10). Both name and article reached the Greeks and Romans by way of the East. The sambyke, indeed, was carried about in the Roman Empire by oriental courtesans, accordingly styled sambucinw. The instrument is described by Strabo as a triangular contrivance of barbaric origin, with four sharp-toned strings.

II. Wind Instruments: The wind instruments mentioned in the Old Testament are of the trumpet order (horn, trumpet), or of the flute kind. Among flutes, the Old Testament mentions `ughabh, " or gan " or " flute," and hdlil, " pipe ." The Egyptians had the simple long flute of wood, which varied greatly in length, however, and in number of stops.

There likewise occur the transverse or x. The Flute German flutes, which are played like

are the double flutes, that is, two flutes either joined together throughout their length, or else only at the mouthpiece and then diverging. Each hand plays one flute, the stops, of course, being only few. Quite similar double flutes occur in the Assyrian designs. A distinctively Syrian instrument is understood by the small flute, a span in length, which had a sharp and wailing tone, and was played in connection with the mourning for Adonis (see TAMMUZ); though with the Athenians it was employed also at banquets and carousals. The modern Arabian flutes vary in length and are made of reeds. Even nowadays the double flutes are still in great favor, of the pattern joined throughout their length. It is probable that various types of these flutes are comprehended under the Hebrew term halal. It is possible, too, that `ughabh denotes this type of flute (Gen. iv. 21; Job xxi. 12, xxx. 31; Ps. cl. 4). And as far as tradition goes, the same term should undoubtedly cover the bagpipe as well. Perhaps, again, the latter instrument is meant in Dan. iii. 5, 7, 10, by the expression aumponyah (cf. the Gk. 8ymphonia). At the same time, over against this tradition it should be borne in mind that neither among the Assyrians nor among the Egyptians are there designs of this instrument or any other vouchers for its occurrence. With at least the same right, indeed, the `ughabh might be connected with the so-called " puff-cheek" pipe, or Pan's pipe-the syrinx of the Greeks, which the Septuagint recovers in the mashrokiha (Dan. iii. 5, 7, 10). The syrinx consists of seven to nine reed pipes, arranged in a row, of varying length and thickness and of varying pitch. This instrument is still in use in the East, notably with shepherds.

The trumpet class of wind instruments can hardly be designated now as musical instruments in the strictest sense of the word, since both horn and trumpet have only one tone, hence no melody can be played on them. They both z. The Horn served as signal instruments and to

HL Instruments of Percussion: Percussive and rattling instruments playa much greater part in the ancient and modern Oriental orchestra toward enhancing the rhythm than they do with us. The most usual of these instruments was the timbrel, tabret, or tambourine (Hebr. toph, Gen. xxxi. 27; Ex. xv. 20; Judges xi. 34; etc.). In the Egyptian designs it is beaten mostly by women; in the Assyrian designs, by men as well. These instruments are mostly round, less frequently quadrangular. The membrane, stretched over a wooden or metal rim, is held with one hand and beaten with the fingers of the other hand. The modern tambourines have thin metallic disks or small bells about the rim, which jingle when shaken. Another kind of drum that belongs to the orchestra appears in the Assyrian delineation of drums; it is carried from the belt, and struck with both hands. The cymbals (zelzelim, meziltayim, TI Sam. vi. 5; T Chron. xiii. 8, xv. 19; etc.) are described by Josephus (Ant., VIL, xii. 13) as two great broad plates of bronze, that are clashed together with both hands. They serve as metronomic or time-beating instruments in the orchestra (cf. I Chron. xxv. 1-6; 11 Chron. v. 12). The Assyrian designs exhibit both bellshaped cymbals, with handles, which are struck together from above downward; and also the flat platter kind, which are struck laterally together. According to the tradition attaching to the Septuagint and the Peshito, the shalishim are also a kind of cymbals (I Sam. xviii. 6). On account of the name others think of triangles. Castanets, or small disks of metal, ivory, bone, or wood, that are seized between the fingers and struck together,