284:. He explains that each command to troops was given using specific tones or "melodies" played on the salpinx. This action allowed for an entire army to receive a command at once as well as provide a level of secrecy as these salpinx calls were specific to a group and would be unknown to an opponent. Yet despite its distinctive sound, the shrill blasts of the salpinx would have had a difficult time overcoming the clashing of metal, the cries of the wounded, the roars of aggression from rows of soldiers. This is why the salpinx was primarily used before battle to summon men to prepare for battle and to sound the charge.
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161:, the salpinx was shorter than the approximately 1.5 meter long Roman tuba. A rare example of a salpinx, held at the Museum of Fine Arts, Boston, is unique in that it is constructed from thirteen sections of bone connected using tenons and sockets (with bronze ferrules) rather than the long, bronze tube described elsewhere. This salpinx is over 1.57 m long dwarfing the common salpinx which is estimated to have been around 0.8 – 1.20 m long.
245:. It is likely that the salpinx was introduced to the Greeks in some way through the Etruscans, however, scattered references to the salpinx prior to Greek contact with the Etruscans, as well as the myriad salpinx type instruments described by Eustathius of Thessalonia, suggests some small level of uncertainty in regard to whether or not the instrument came to the Greeks directly from the Etruscans or through some intermediary source.
181:
is found in many early civilizations and therefore makes it difficult to discern when and where the long, straight trumpet design found in the salpinx originated. References to the salpinx are found frequently in Greek literature and art. Early descriptions of the sound of the salpinx can be found
292:
unbend the tension of the exhaling air in the salpinx, in order to make the sound smoother." The komos, a street festival with music and dance, would require an "unbending of tension" in order to create a more pleasing tone thus indicating a usage for the instrument outside of the military. Another
148:
The salpinx consisted of a straight, narrow bronze tube with a mouthpiece of bone and a bell (also constructed of bronze) of variable shape and size; extant descriptions describe conical, bulb-like, and spherical structures. Each type of bell may have had a unique effect on the sound made by the
287:
Andrew Barker, however, describes a possible exception to the utilitarian usage of the salpinx referencing
Aristotle, who wrote, "...that is why everyone, when engaging in revelry, relaxes the tension of the breath in playing the salpinx, so as to make the sound as gentle as possible." It is
265:
and literature, the salpinx is usually depicted as being played by a soldier. Fifth century authors frequently associated its "piercing sound" with war; the instrument often being used for signalling, summoning crowds and beginning chariot races. This is supported in the writing of
232:
people. Bronze instruments were important among the
Etruscans and as a people they were held in high regard by the Greeks for their musical contributions. The salpinx as an Etruscan invention is thus supported by the Greeks and various descriptions can be found among the authors
293:
more universal function of the salpinx was to use it as a means of bringing silence to a rambunctious crowd or at a large gathering. This was both useful in a societal setting in places such as large assemblies and as a tool to quiet soldiers while a general addressed his men.
288:
suggested here that the salpinx may have found use in festive occasions as well as war. This notion is corroborated by Nikos
Xanthoulis in his article "The Salpinx in Greek Antiquity". Here, he draws particular attention to Aristotle's statement that "...participants of a
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O herald, make proclaim, bid all men come. Then let the shrill blast of the
Tyrrhene trump,/ Fulfilled with mortal breath,/ thro' the wide air/ Peal a loud summons, bidding all men heed.
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to simulate the sound of the salpinx. Due to the complexity of this process, the ASTRA project uses grid computing on hundreds of computers throughout Europe to model the sounds.
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212:, though the salpinx is most closely related to the Egyptian version. References to the salpinx in classical literature include mention of the instrument as
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559:
Peter Krentz, "The
Salpinx in Greek Warfare," from Hoplites: The Classical Greek Battle Experience, edited by Victor Davis Hanson, 1991, pp. 110-120.
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Peter Krentz, “The
Salpinx in Greek Warfare,” from Hoplites: The Classical Greek Battle Experience, edited by Victor Davis Hanson, 1991, pp. 110-120.
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Peter Krentz, “The
Salpinx in Greek Warfare,” from Hoplites: The Classical Greek Battle Experience, edited by Victor Davis Hanson, 1991, pp. 110-120.
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Peter Krentz, “The
Salpinx in Greek Warfare,” from Hoplites: The Classical Greek Battle Experience, edited by Victor Davis Hanson, 1991, pp. 110-120.
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The sound of the salpinx was being digitally recreated by the
Ancient Instruments Sound/Timbre Reconstruction Application (ASTRA) project which uses
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The
Salpinx is part of the Lost Sounds Orchestra, alongside other ancient instruments whose sounds have been recreated by ASTRA, including the
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described the necessity of the salpinx and salpingtis (a player of the salpinx) in battle in his treatise,
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instrument. The instrument has been depicted in some classical era vases as employing the use of a
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salpinx. The American Heritage Dictionary of the English Language: Fourth Edition. 2000
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This article is about the musical instrument. For anatomical references, see
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James W. McKinnon. "Tuba (ii)." In Grove Music Online. Oxford Music Online,
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Late 6th, early 5th century BC. Vase depicting a soldier playing the salpinx
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James W. McKinnon. "Salpinx." In Grove Music Online. Oxford Music Online,
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reference is exceptional and frequent references are not found until the
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Greek drinking bowl, circa 500 B.C., showing a warrior sounding a salpinx
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http://www.oxfordmusiconline.com/subscriber/article/grove/music/28526
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http://www.oxfordmusiconline.com/subscriber/article/grove/music/24409
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Nikos Xanthoulis, "The Salpinx in Greek Antiquity,"
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157:players of the era. Though similar to the
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140:-like instrument of the ancient Greeks.
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91:
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40:
33:
28:
22:
1587:Arban method
1558:
1507:Mute cornett
1374:Tube trumpet
1359:Tibetan horn
1336:
1103:Greek dances
960:Askomandoura
759:
582:. Retrieved
578:the original
573:
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147:
144:Construction
89:
47:
45:
1384:Waqra phuku
853:Pontic lyra
848:Cretan lyra
788:Water organ
521:Aristotle,
487:Aristotle,
449:Aeschylus,
206:Mesopotamia
1698:Categories
1678:Trumpeters
1668:Repertoire
1622:Embouchure
1617:Mouthpiece
1529:Flugelhorn
1502:Cornettino
1447:Contrabass
1332:Roman tuba
1261:Embouchure
1244:Didgeridoo
1037:Idiophones
1018:Tambourine
1004:Percussion
770:Percussion
584:12 January
453:, 458 BC.
340:References
159:Roman tuba
1673:Concertos
1575:technique
1573:Parts and
1554:Post horn
1364:Tochacatl
1322:Post horn
1215:Hakgediya
1190:Bukkehorn
1098:Nisiotika
1044:Koudounia
1023:Toubeleki
970:Tsampouna
919:Tambouras
755:Pan flute
713:Epigonion
451:Eumenides
310:epigonion
268:Aristotle
263:Greek art
243:Sophocles
235:Aeschylus
218:Tyrrhenoi
90:salpinges
88:; plural
32:hydraulis
1524:Firebird
1470:Variants
1455:Standard
1442:By range
1431:Trumpets
1379:Vuvuzela
1369:Trembita
1327:Ramsinga
1195:Chazozra
1149:trumpets
1076:See also
995:Souravli
980:Karamuza
975:Floghera
940:Santouri
924:Thaboura
914:Psaltery
904:Mandolin
884:Bouzouki
806:Medieval
783:Crotalum
778:Cochilia
728:Trigonon
695:Phorminx
680:Barbiton
501:On Music
440:McKinnon
431:18. 219.
356:Archived
328:See also
320:and the
318:barbiton
282:On Music
270:who, in
230:Etruscan
214:tyrrhene
202:Anatolia
151:phorbeia
136:) was a
132:; Greek
1663:History
1559:Salpinx
1544:Natural
1534:Flumpet
1519:Fanfare
1497:Cornett
1487:Clarion
1463:Piccolo
1459:Soprano
1435:cornets
1337:Salpinx
1317:Olifant
1237:Swedish
1232:Cowhorn
1220:Horagai
1205:Clarion
1185:Buisine
1170:Buccina
1160:Alphorn
1054:Trigono
1028:Tympano
990:Mantura
985:Lalitsa
899:Mandola
877:Plucked
818:Organon
793:Sistrum
760:Salpinx
723:Sambuca
718:Magadis
690:Kithara
662:Pandura
646:Ancient
427:Homer,
194:Archaic
179:trumpet
138:trumpet
134:σάλπιγξ
48:salpinx
1642:Rotary
1637:Piston
1582:Action
1549:Pocket
1492:Cornet
1354:Sringa
1342:Shofar
1285:Lituus
1280:Karnay
1275:Karnal
1263:&
1249:modern
1200:Carnyx
1175:Bucium
1049:Stamna
933:Struck
909:Oudola
894:Laouto
889:Guitar
834:String
827:Modern
685:Chelys
654:String
429:Iliad,
322:syrinx
316:, the
312:, the
297:Modern
241:, and
239:Pollux
226:Greeks
222:exonym
208:, and
165:Origin
1651:Other
1632:Valve
1627:Muted
1612:Keyed
1602:Crook
1564:Slide
1482:Bugle
1477:Birch
1461:>
1457:>
1453:>
1449:>
1389:Wazza
1312:Nyele
1307:Nafir
1225:Nagak
1210:Conch
1180:Bugle
1059:Zilia
965:Gaida
841:Bowed
750:Aulos
314:aulos
290:komos
220:, an
210:Egypt
189:Iliad
184:Homer
155:aulos
1683:Jazz
1592:Bore
1451:Bass
1433:and
1270:Erke
1256:Dord
1147:and
953:Wind
742:Wind
705:Harp
672:Lyre
586:2022
249:Uses
177:The
1539:Lur
1290:Lur
186:’s
182:in
1700::
572:.
324:.
237:,
204:,
122:iː
119:dʒ
46:A
1423:e
1416:t
1409:v
1137:e
1130:t
1123:v
631:e
624:t
617:v
588:.
503:.
128:/
125:z
116:n
113:ɪ
110:p
107:ˈ
104:l
101:æ
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95:/
84:/
81:s
78:k
75:ŋ
72:ɪ
69:p
66:l
63:æ
60:s
57:ˈ
54:/
50:(
23:.
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