Solution Manual for Intermediate Accounting 17th by Kieso
Solution Manual for Intermediate Accounting 17th by Kieso
Solution Manual for Intermediate Accounting 17th by Kieso
Solution Manual for Intermediate Accounting 17th by Kieso
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CHAPTER 1
Financial Accounting and Accounting Standards
ASSIGNMENT CLASSIFICATION TABLE (By Topic)
Topics Questions Concepts for
Analysis
1. Subject matter of accounting. 1 4
2. Environment of accounting. 2, 3, 21 6, 7
3. Role of principles, objectives, standards,
and accounting theory.
4, 5, 6, 7 1, 2, 3, 5
4. Historical development of GAAP. 8, 9, 10, 11 8
5. Authoritative pronouncements and rule- 12, 13, 14, 15, 3, 9, 11, 12, 14
making bodies. 16, 17, 18, 19,
20
6. Role of pressure groups. 21, 22, 23, 24, 25, 10, 16, 17
26
7. Ethical issues. 28 13, 15
35. According to their records, the Chinese possessed their much-
esteemed king 2200 years before our Christian era, and employed it
for accompanying songs of praise. It was regarded as a sacred
instrument. During religious observances at the solemn moment
when the king was sounded sticks of incense were burnt. It was
likewise played before the emperor early in the morning when he
awoke. The Chinese have long since constructed various kinds of the
king, one of which is here engraved, by using different species of
stones. Their most famous stone selected for this purpose is called
yu. It is not only very sonorous but also beautiful in appearance. The
yu is found in mountain streams and crevices of rocks. The largest
specimens found measure from two to three feet in diameter, but of
this size examples rarely occur. The yu is very hard and heavy. Some
European mineralogists, to whom the missionaries transmitted
specimens for examination, pronounce it to be a species of agate. It
is found of different colours, and the Chinese appear to have
preferred in different centuries particular colours for the king.
36. The Chinese consider the yu especially valuable for musical
purposes, because it always retains exactly the same pitch. All other
musical instruments, they say, are in this respect doubtful; but the
tone of the yu is neither influenced by cold nor heat, nor by
humidity, nor dryness.
The stones used for the king have been cut from time to time in
various grotesque shapes. Some represent animals: as, for instance,
a bat with outstretched wings; or two fishes placed side by side:
others are in the shape of an ancient Chinese bell. The angular
shape shown in the engraving appears to be the oldest and is still
retained in the ornamented stones of the pien-king, which is a more
modern instrument than the king. The tones of the pien-king are
attuned according to the Chinese intervals called lu, of which there
are twelve in the compass of an octave. The same is the case with
the other Chinese instruments of this class. They vary, however, in
pitch. The pitch of the soung-king, for instance, is four intervals
lower than that of the pien-king.
Sonorous stones have always been used by the Chinese also singly,
as rhythmical instruments. Such a single stone is called tse-king.
Probably certain curious relics belonging to a temple in Peking,
erected for the worship of Confucius, serve a similar purpose. In one
of the outbuildings or the temple are ten sonorous stones, shaped
like drums, which are asserted to have been cut about three
thousand years ago. The primitive Chinese characters engraven
upon them are nearly obliterated.
The ancient Chinese had several kinds of bells, frequently arranged
in sets so as to constitute a musical scale. The Chinese name for the
bell is tchung. At an early period they had a somewhat square-
shaped bell called té-tchung. Like other ancient Chinese bells it was
made of copper alloyed with tin, the proportion being one pound of
tin to six of copper. The té-tchung, which is also known by the name
of piao, was principally used to indicate the time and divisions in
musical performances. It had a fixed pitch of sound, and several of
37. these bells attuned to a certain order of intervals were not
unfrequently ranged in a regular succession, thus forming a musical
instrument which was called pien-tchung. The musical scale of the
sixteen bells which the pien-tchung contained was the same as that
of the king before mentioned.
The hiuen-tchung was, according to popular tradition, included with
the antique instruments at the time of Confucius, and came into
popular use during the Han dynasty (from B.C. 200 until A.D. 200). It
was of a peculiar oval shape and had nearly the same quaint
ornamentation as the té-tchung; this consisted of symbolical figures,
in four divisions, each containing nine mammals. The mouth was
crescent-shaped. Every figure had a deep meaning referring to the
seasons and to the mysteries of the Buddhist religion. The largest
hiuen-tchung was about twenty inches in length; and, like the té-
tchung, was sounded by means of a small wooden mallet with an
oval knob. None of the bells of this description had a clapper. It
would, however, appear that the Chinese had at an early period
38. some kind of bell provided with a wooden tongue: this was used for
military purposes as well as for calling the people together when an
imperial messenger promulgated his sovereign’s commands. An
expression of Confucius is recorded to the effect that he wished to
be “A wooden-tongued bell of Heaven,” i.e. a herald of heaven to
proclaim the divine purposes to the multitude.
The fang-hiang was a kind of wood-
harmonicon. It contained sixteen wooden
slabs of an oblong square shape,
suspended in a wooden frame elegantly
decorated. The slabs were arranged in
two tiers, one above the other, and were
all of equal length and breadth but
differed in thickness. The tchoung-tou
consisted of twelve slips of bamboo, and
was used for beating time and for
rhythmical purposes. The slips being
banded together at one end could be
expanded somewhat like a fan. The
Chinese state that they used the tchoung-
tou for writing upon before they invented
paper.
The ou, of which we give a woodcut, likewise an ancient Chinese
instrument of percussion and still in use, is made of wood in the
shape of a crouching tiger. It is hollow, and along its back are about
twenty small pieces of metal, pointed, and in appearance not unlike
the teeth of a saw. The performer strikes them with a sort of
plectrum resembling a brush, or with a small stick called tchen.
Occasionally the ou is made with pieces of metal shaped like reeds.
The ancient ou was constructed with only six tones which were
attuned thus—f, g, a, c, d, f. The instrument appears to have
become deteriorated in the course of time; for, although it has
gradually acquired as many as twenty-seven pieces of metal, it
39. evidently serves at the present
day more for the production of
rhythmical noise than for the
execution of any melody. The
modern ou is made of a species
of wood called kieou or tsieou:
and the tiger rests generally on
a hollow wooden pedestal
about three feet six inches long,
which serves as a sound-board.
The tchou, likewise an instrument of
percussion, was made of the wood of a tree
called kieou-mou, the stem of which
resembles that of the pine and whose
foliage is much like that of the cypress. It
was constructed of boards about three-
quarters of an inch in thickness. In the
middle of one of the sides was an aperture
into which the hand was passed for the
purpose of holding the handle of a wooden hammer, the end of
which entered into a hole situated in the bottom of the tchou. The
handle was kept in its place by means of a wooden pin, on which it
moved right and left when the instrument was struck with a
hammer. The Chinese ascribe to the tchou a very high antiquity, as
they almost invariably do with any of their inventions when the date
of its origin is unknown to them.
The po-fou was a drum, about one foot four inches in length, and
seven inches in diameter. It had a parchment at each end, which
was prepared in a peculiar way by being boiled in water. The po-fou
used to be partly filled with a preparation made from the husk of
rice, in order to mellow the sound. The Chinese name for the drum
is kou.
40. The kin-kou (engraved), a large drum fixed on a pedestal which
raises it above six feet from the ground, is embellished with
symbolical designs. A similar drum on which natural phenomena are
depicted is called lei-kou; and another of the kind, with figures of
certain birds and beasts which are regarded as symbols of long life,
is called ling-kou, and also lou-kou.
The flutes, ty, yo, and tché were generally made of bamboo. The
koan-tsee was a Pandean pipe containing twelve tubes of bamboo.
The siao, likewise a Pandean pipe, contained sixteen tubes. The pai-
siao differed from the siao inasmuch as the tubes were inserted into
an oddly-shaped case highly ornamented with grotesque designs
and silken appendages.
41. The Chinese are known to have
constructed at an early period a
curious wind-instrument, called
hiuen. It was made of baked
clay and had five finger-holes,
three of which were placed on
one side and two on the
opposite side, as in the cut. Its
tones were in conformity with
the pentatonic scale. The reader
unacquainted with the pentatonic scale may ascertain its character
by playing on the pianoforte the scale of C major with the omission
of f and b (the fourth and seventh); or by striking the black keys in
regular succession from f-sharp to the next f-sharp above or below.
Another curious wind-instrument of high antiquity, the cheng,
(engraved, p. 46) is still in use. Formerly it had either 13, 19, or 24
tubes, placed in a calabash; and a long curved tube served as a
mouth-piece. In olden time it was called yu.
The ancient stringed instruments, the kin and chê, were of the
dulcimer kind: they are still in use, and specimens of them are in the
South Kensington museum.
The Buddhists introduced from Thibet into China their god of music,
who is represented as a rather jovial-looking man with a moustache
and an imperial, playing the pepa, a kind of lute with four silken
strings. Perhaps some interesting information respecting the ancient
Chinese musical instruments may be gathered from the famous ruins
of the Buddhist temples Ongcor-Wat and Ongcor-Thôm, in
Cambodia. These splendid ruins are supposed to be above two
thousand years old: and, at any rate, the circumstance of their age
not being known to the Cambodians suggests a high antiquity. On
the bas-reliefs with which the temples were enriched are figured
musical instruments, which European travellers describe as “flutes,
organs, trumpets, and drums, resembling those of the Chinese.”
42. Faithful sketches of these representations might, very likely, afford
valuable hints to the student of musical history.
The Hindus.
In the Brahmin mythology of the Hindus the god
Nareda is the inventor of the vina, the principal
national instrument of Hindustan. Saraswati, the
consort of Brahma, may be regarded as the
Minerva of the Hindus. She is the goddess of
music as well as of speech; to her is attributed
the invention of the systematic arrangement of
the sounds into a musical scale. She is
represented seated on a peacock and playing on
a stringed instrument of the lute kind. Brahma
himself we find depicted as a vigorous man with
four handsome heads, beating with his hands
upon a small drum; and Vishnu, in his incarnation
as Krishna, is represented as a beautiful youth
playing upon a flute. The Hindus construct a
peculiar kind of flute, which they consider as the
favourite instrument of Krishna. They have also
the divinity Ganesa, the god of Wisdom, who is
represented as a man with the head of an
elephant, holding a tamboura in his hands.
It is a suggestive fact that we find among several
nations in different parts of the world an ancient
tradition, according to which their most popular stringed instrument
was originally derived from the water.
In Hindu mythology the god Nareda invented the vina—the principal
national instrument of Hindustan—which has also the name cach’-
hapi, signifying a tortoise (testudo). Moreover, nara denotes in
43. Sanskrit water, and narada, or nareda, the giver of water. Like
Nareda, Nereus and his fifty daughters, the Nereides, were much
renowned for their musical accomplishments; and Hermes (it will be
remembered) made his lyre, the chelys, of a tortoise-shell. The
Scandinavian god Odin, the originator of magic songs, is mentioned
as the ruler of the sea, and as such he had the name of Nikarr. In
the depth of the sea he played the harp with his subordinate spirits,
who occasionally came up to the surface of the water to teach some
favoured human being their wonderful instrument. Wäinämöinen,
the divine player on the Finnish kantele (according to the Kalewala,
the old national epic of the Finns) constructed his instrument of fish-
bones. The frame he made out of the bones of the pike; and the
teeth of the pike he used for the tuning-pegs.
Jacob Grimm in his work on German mythology points out an old
tradition, preserved in Swedish and Scotch national ballads, of a
skilful harper who constructs his instrument out of the bones of a
young girl drowned by a wicked woman. Her fingers he uses for the
tuning screws, and her golden hair for the strings. The harper plays,
and his music kills the murderess. A similar story is told in the old
Icelandic national songs; and the same tradition has been preserved
in the Faroe islands, as well as in Norway and Denmark.
May not the agreeable impression produced by the rhythmical flow
of the waves and the soothing murmur of running water have led
various nations, independently of each other, to the widespread
conception that they obtained their favourite instrument of music
from the water? Or is the notion traceable to a common source
dating from a pre-historic age, perhaps from the early period when
the Aryan race is surmised to have diffused its lore through various
countries? Or did it originate in the old belief that the world, with all
its charms and delights, arose from a chaos in which water
constituted the predominant element?
Howbeit, Nareda, the giver of water, was evidently also the ruler of
the clouds; and Odin had his throne in the skies. Indeed, many of
44. the musical water-spirits appear to have been originally considered
as rain deities. Their music may therefore be regarded as derived
from the clouds rather than from the sea. In short, the traditions
respecting spirits and water are not in contradiction to the opinion of
the ancient Hindus that music is of heavenly origin, but rather tend
to support it.
The earliest musical instruments of the Hindus on record have,
almost all of them, remained in popular use until the present day
scarcely altered. Besides these, the Hindus possess several Arabic
and Persian instruments which are of comparatively modern date in
Hindustan: evidently having been introduced into that country
scarcely a thousand years ago, at the time of the Mahomedan
irruption. There is a treatise on music extant, written in Sanskrit,
which contains a description of the ancient instruments. Its title is
Sângita râthnakara. If, as may be hoped, it be translated by a
Sanskrit scholar who is at the same time a good musician, we shall
probably be enabled to ascertain more exactly which of the Hindu
instruments of the present day are of comparatively modern origin.
The vina is undoubtedly of high antiquity. It has seven wire strings,
and movable frets which are generally fastened with wax. Two
hollowed gourds, often tastefully ornamented, are affixed to it for
the purpose of increasing the sonorousness. There are several kinds
of the vina in different districts; but that represented in the
illustration is regarded as the oldest. The performer shown is Jeewan
Shah, a celebrated virtuoso on the vina, who lived about a hundred
years ago. The Hindus divided their musical scale into several
intervals smaller than our modern semitones. They adopted twenty-
two intervals called sruti in the compass of an octave, which may
therefore be compared to our chromatic intervals. As the frets of the
vina are movable the performer can easily regulate them according
to the scale, or mode, which he requires for his music.
The harp, chang, has become almost obsolete. If some Hindu
drawings of it can be relied upon, it had at an early time a triangular
45. frame and was in construction
as well as in shape and size
almost identical with the
Assyrian harp.
The Hindus claim to have
invented the violin bow. They
maintain that the ravanastron,
one of their old instruments
played with the bow, was
invented about five thousand
years ago by Ravanon, a mighty
king of Ceylon. However this
may be there is a great
probability that the fiddle-bow
originated in Hindustan;
because Sanskrit scholars
inform us that there are names for it in works which cannot be less
than from 1500 to 2000 years old. The non-occurrence of any
instrument played with a bow on the monuments of the nations of
antiquity is by no means so sure a proof as has generally been
supposed, that the bow was unknown. The fiddle in its primitive
condition must have been a poor contrivance. It probably was
despised by players who could produce better tones with greater
facility by twanging the strings with their fingers, or with a plectrum.
Thus it may have remained through many centuries without
experiencing any material improvement. It must also be borne in
mind that the monuments transmitted to us chiefly represent
historical events, religious ceremonies, and royal entertainments. On
such occasions instruments of a certain kind only were used, and
these we find represented; while others, which may have been even
more common, never occur. In two thousand years’ time people will
possibly maintain that some highly perfected instrument popular
with them was entirely unknown to us, because it is at present in so
primitive a condition that no one hardly notices it. If the ravanastron
was an importation of the Mahomedans it would most likely bear
46. some resemblance to the Arabian and Persian instruments, and it
would be found rather in the hands of the higher classes in the
towns; whereas it is principally met with among the lower order of
people, in isolated and mountainous districts. It is further
remarkable that the most simple kind of ravanastron is almost
identical with the Chinese fiddle called ur-heen. This species has only
two strings, and its body consists of a small block of wood, hollowed
out and covered with the skin of a serpent. The ur-heen has not
been mentioned among the most ancient instruments of the
Chinese, since there is no evidence of its having been known in
China before the introduction of the Buddhist religion into that
country. From indications, which to point out would lead too far
here, it would appear that several instruments found in China
originated in Hindustan. They seem to have been gradually diffused
from Hindustan and Thibet, more or less altered in the course of
time, through the east as far as Japan.
Another curious Hindu instrument, probably of very high antiquity, is
the poongi, also called toumrie and magoudi. It consists of a gourd
or of the Cuddos nut, hollowed, into which two pipes are inserted.
The poongi therefore somewhat resembles in appearance a bagpipe.
It is generally used by the Sampuris or snake charmers, who play
upon it when they exhibit the antics of the cobra. The name
magoudi, given in certain districts to this instrument, rather tends to
corroborate the opinion of some musical historians that the magadis
of the ancient Greeks was a sort of double-pipe, or bagpipe.
Many instruments of Hindustan are known by different names in
different districts; and, besides, there are varieties of them. On the
whole, the Hindus possess about fifty instruments. To describe them
properly would fill a volume. Some, which are in the Kensington
museum, will be found noticed in the large catalogue of that
collection.
47. The Persians and Arabs.
Of the musical instruments of the ancient Persians, before the
Christian era, scarcely anything is known. It may be surmised that
they closely resembled those of the Assyrians, and probably also
those of the Hebrews.
The harp, chang, in olden time a
favourite instrument of the Persians,
has gradually fallen into desuetude. The
illustration of a small harp given in the
woodcut has been sketched from the
celebrated sculptures, perhaps of the
sixth century, which exist on a
stupendous rock, called Tackt-i-Bostan,
in the vicinity of the town of
Kermanshah. These sculptures are said
to have been executed during the lifetime of the Persian monarch
Khosroo Purviz. They form the ornaments of two lofty arches, and
consist of representations of field sports and aquatic amusements.
In one of the boats is seated a man in an ornamental dress, with a
halo round his head, who is receiving an arrow from one of his
attendants; while a female, who is sitting near him, plays on a
Trigonon. Towards the top of the bas-relief is represented a stage,
on which are performers on small straight trumpets and little hand
drums; six harpers; and four other musicians, apparently females,—
the first of whom plays a flute; the second, a sort of pandean pipe;
the third, an instrument which is too much defaced to be
recognizable; and the fourth, a bagpipe. Two harps of a peculiar
shape were copied by Sir Gore Ousely from Persian manuscripts
about four hundred years old resembling, in the principle on which
they are constructed, all other oriental harps. There existed
evidently various kinds of the chang. It may be remarked here that
the instrument tschenk (or chang) in use at the present day in
Persia, is more like a dulcimer than a harp. The Arabs adopted the
48. harp from the Persians, and called it junk. An interesting
representation of a Turkish woman playing the harp (p. 53) sketched
from life by Melchior Lorich in the seventeenth century, probably
exhibits an old Persian chang; for the Turks derived their music
principally from Persia. Here we have an introduction into Europe of
the oriental frame without a front pillar.
The Persians appear to have adopted, at an early
period, smaller musical intervals than semitones.
When the Arabs conquered Persia (A.D. 641) the
Persians had already attained a higher degree of
civilisation than their conquerors. The latter found in
Persia the cultivation of music considerably in
advance of their own, and the musical instruments
superior also. They soon adopted the Persian
instruments, and there can be no doubt that the
musical system exhibited by the earliest Arab writers
whose works on the theory of music have been
preserved was based upon an older system of the
Persians. In these works the octave is divided in
seventeen one-third-tones—intervals which are still made use of in
the east. Some of the Arabian instruments are constructed so as to
enable the performer to produce the intervals with exactness. The
frets on the lute and tamboura, for instance, are regulated with a
view to this object.
49. The Arabs had to some extent become acquainted with many of the
Persian instruments before the time of their conquest of Persia. An
Arab musician of the name of Nadr Ben el-Hares Ben Kelde is
recorded as having been sent to the Persian king Khosroo Purviz, in
the sixth century, for the purpose of learning Persian singing and
performing on the lute. Through him, it is said, the lute was brought
to Mekka. Saib Chatir, the son of a Persian, is spoken of as the first
performer on the lute in Medina, A.D. 682; and of an Arab lutist, Ebn
Soreidsch from Mekka, A.D. 683, it is especially mentioned that he
50. played in the Persian style; evidently the superior one. The lute, el-
oud, had before the tenth century only four strings, or four pairs
producing four tones, each tone having two strings tuned in unison.
About the tenth century a string for a fifth tone was added. The
strings were made of silk neatly twisted. The neck of the instrument
was provided with frets of string, which were carefully regulated
according to the system of seventeen intervals in the compass of an
octave before mentioned. Other favourite stringed instruments were
the tamboura, a kind of lute with a long neck, and the kanoon, a
kind of dulcimer strung with lamb’s gut strings (generally three in
unison for each tone) and played upon with two little plectra which
the performer had fastened to his fingers. The kanoon is likewise still
in use in countries inhabited by Mahomedans. The engraving, taken
from a Persian painting at Teheran, represents an old Persian santir,
the prototype of our dulcimer, mounted with wire strings and played
upon with two slightly curved sticks.
51. Al-Farabi, one of the earliest Arabian musical theorists known, who
lived in the beginning of the tenth century, does not allude to the
fiddle-bow. This is noteworthy inasmuch as it seems in some
measure to support the opinion maintained by some historians that
the bow originated in England or Wales. Unfortunately we possess
no exact descriptions of the Persian and Arabian instruments
between the tenth and fourteenth centuries, otherwise we should
probably have earlier accounts of some instrument of the violin kind
in Persia. Ash-shakandi, who lived in Spain about A.D. 1200, mentions
52. the rebab, which may have been in use for centuries without having
been thought worthy of notice on account of its rudeness. Persian
writers of the fourteenth century speak of two instruments of the
violin class, viz., the rebab and the kemangeh. As regards the
kemangeh, the Arabs themselves assert that they obtained it from
Persia, and their statement appears all the more worthy of belief
from the fact that both names, rebab and kemangeh, are originally
Persian. We engrave the rebab from an example at South
Kensington.
The nay, a flute, and the surnay, a species of
oboe, are still popular in the east.
The Arabs must have been indefatigable
constructors of musical instruments. Kiesewetter
gives a list of above two hundred names of
Arabian instruments, and this does not include
many known to us through Spanish historians. A
careful investigation of the musical instruments of
the Arabs during their sojourn in Spain is
particularly interesting to the student of mediæval
music, inasmuch as it reveals the eastern origin of
many instruments which are generally regarded
as European inventions. Introduced into Spain by
the Saracens and the Moors they were gradually
diffused towards northern Europe. The English, for instance, adopted
not only the Moorish dance (morrice dance) but also the kuitra
(gittern), the el-oud (lute), the rebab (rebec), the nakkarah (naker),
and several others. In an old Cornish sacred drama, supposed to
date from the fourteenth century, we have in an enumeration of
musical instruments the nakrys, designating “kettle-drums.” It must
be remembered that the Cornish language, which has now become
obsolete, was nearly akin to the Welsh. Indeed, names of musical
instruments derived from the Moors in Spain occur in almost every
European language.
53. Not a few fanciful stories are traditionally preserved among the
Arabs testifying to the wonderful effects they ascribed to the power
of their instrumental performances. One example will suffice. Al-
Farabi had acquired his proficiency in Spain, in one of the schools at
Cordova which flourished as early as towards the end of the ninth
century: and his reputation became so great that ultimately it
extended to Asia. The mighty caliph of Bagdad himself desired to
hear the celebrated musician, and sent messengers to Spain with
instructions to offer rich presents to him and to convey him to the
court. But Al-Farabi feared that if he went he should be retained in
Asia, and should never again see the home to which he felt deeply
attached. At last he resolved to disguise himself, and ventured to
undertake the journey which promised him a rich harvest. Dressed in
a mean costume, he made his appearance at the court just at the
time when the caliph was being entertained with his daily concert.
Al-Farabi, unknown to everyone, was permitted to exhibit his skill on
the lute. Scarcer had he commenced his performance in a certain
musical mode when he set all his audience laughing aloud,
notwithstanding the efforts of the courtiers to suppress so
unbecoming an exhibition of mirth in the royal presence. In truth,
even the caliph himself was compelled to burst out into a fit of
laughter. Presently the performer changed to another mode, and the
effect was that immediately all his hearers began to sigh, and soon
tears of sadness replaced the previous tears of mirth. Again he
played in another mode, which excited his audience to such a rage
that they would have fought each other if he, seeing the danger, had
not directly gone over to an appeasing mode. After this wonderful
exhibition of his skill Al-Farabi concluded in a mode which had the
effect of making his listeners fall into a profound sleep, during which
he took his departure.
It will be seen that this incident is almost identical with one recorded
as having happened about twelve hundred years earlier at the court
of Alexander the great, and which forms the subject of Dryden’s
“Alexander’s Feast.” The distinguished flutist Timotheus successively
aroused and subdued different passions by changing the musical
54. modes during his performance, exactly in the same way as did Al-
Farabi.
CHAPTER VI.
The American Indians.
If the preserved antiquities of the American Indians, dating from a
period anterior to our discovery of the western hemisphere, possess
an extraordinary interest because they afford trustworthy evidence
of the degree of progress which the aborigines had attained in the
cultivation of the arts and in their social condition before they came
in contact with Europeans, it must be admitted that the ancient
musical instruments of the American Indians are also worthy of
examination. Several of them are constructed in a manner which, in
some degree, reveals the characteristics of the musical system
prevalent among the people who used the instruments. And
although most of these interesting relics, which have been obtained
from tombs and other hiding-places, may not be of great antiquity, it
has been satisfactorily ascertained that they are genuine
contrivances of the Indians before they were influenced by European
civilization.
Some account of these relics is therefore likely to prove of interest
also to the ethnologist, especially as several facts may perhaps be
found of assistance in elucidating the still unsolved problem as to the
probable original connection of the American with Asiatic races.
Among the instruments of the Aztecs in Mexico and of the Peruvians
none have been found so frequently, and have been preserved in
their former condition so unaltered, as pipes and flutes. They are
generally made of pottery or of bone, substances which are
unsuitable for the construction of most other instruments, but which
are remarkably well qualified to withstand the decaying influence of
55. time. There is, therefore, no reason to conclude from the frequent
occurrence of such instruments that they were more common than
other kinds of which specimens have rarely been discovered.
The Mexicans possessed a small whistle formed of baked clay, a
considerable number of which have been found. Some specimens (of
which we give engravings) are singularly grotesque in shape,
representing caricatures of the human face and figure, birds, beasts,
and flowers. Some were provided at the top with a finger-hole
which, when closed, altered the pitch of the sound, so that two
different tones were producible on the instrument. Others had a little
ball of baked clay lying loose inside the air-chamber. When the
instrument was blown the current of air set the ball in a vibrating
motion, thereby causing a shrill and whirring sound. A similar
contrivance is sometimes made use of by Englishmen for conveying
signals. The Mexican whistle most likely served principally the same
purpose, but it may possibly have been used also in musical
entertainments. In the Russian horn band each musician is restricted
to a single tone; and similar combinations of performers—only, of