Ancient art of the province of Chiriqui, Colombia: Sixth Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian Institution, 1884-1885, Government Printing Office, Washington, 1888, pages 3-188Holmes, William Henry
History
Ancient art of the province of Chiriqui, Colombia: Sixth Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian Institution, 1884-1885, Government Printing Office, Washington, 1888, pages 3-188
Holmes, William Henry
Chiriquí (Panama : Province) -- Antiquities; Indian pottery -- Panama; Indians of Central America -- Panama
In the collection there is a minute toy drum of the same general shape,
and the same form reappears in some of the whistles, in one of which
(Fig. 247) the skin head and its fastenings are all carefully reproduced
in miniature. The immediate original of this particular form of drum was
probably made of wood. A drum, recently brought from Costa Rica was made
by hollowing out a cylindrical piece of wood and stretching a piece of
snakeskin across the top. The shape is nearly identical with that of
these earthen specimens.
_Wind instruments._--Earthenware wind instruments are found in
considerable numbers and are associated with other relics in the tombs.
Nearly all are very simple in construction and are limited in musical
power, receiving and perhaps generally deserving no better name than
whistles or toys. A few pieces are more pretentious and yield a number
of notes, and if operated by skilled performers or properly concerted
are capable of producing pleasing melodies. It is not difficult to
determine the powers of individual instruments, but we cannot say to
what extent these powers were understood by the original owners, nor can
we say whether or not they were intended to be played in unison in such
a way as to give a certain desired succession of intervals. There are,
however, in a large number of these instruments a uniformity in
construction and a certain close correspondence in the number and degree
of the sounds that indicate the existence of well established standards.
It does not appear absolutely certain to me that the system of intervals
was made to conform to that of any known scale; but a difficulty arises
in attempting to determine this point, as most of the pieces are more or
less mutilated. We find also that the note producible by any given stop
is not fixed in pitch, but varies, with the force of the breath, two or
even three full intervals. As a result of this a glide is possible to
the skilled performer from note to note and any desired pitch can be
taken.
Public-domain text, read in full here on John Shaqi.
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