The habit peculiar to ancient artists of depicting the part for the whole, or two to mean many, makes it impossible for us to determine from the reliefs whether the Assyrians used regularly any definite number of musical instruments in their performances. We know, however, that they employed various combinations of instruments. On the Assyrian bas-reliefs in the British Museum (some of which are fragments) we find such combinations as harp and drum; lyre, harp and double pipe; two _asors_ and drum; three lyres; two trumpets; seven harps, one dulcimer; two double pipes, a drum and chorus. The predominance of strings over instruments of percussion in all representations of Assyrian concerts prompts the supposition that the music was of a soft, suave character. Rhythm seems to have been marked chiefly by the clapping of hands, and musical performances were probably accompanied usually, if not always, by singing and dancing. The evidence of the bas-reliefs on this point is supplemented by the Bible accounts of ceremonial observances among the Hebrews, who must have been profoundly influenced by Babylonian culture. Dancing was undoubtedly an integral part of all ceremonial observances and triumphal processions among the ancient nations of the East, and it would seem that as a rule it was accompanied by vocal as well as instrumental music. The Bible is replete with illuminative references on the subject. On the Assyrian bas-relief above mentioned, showing the instrumental band and chorus, the women of the chorus are represented with their hands to their throats and are evidently performing that peculiar shrilling which constitutes the Hebrew _Allelujah_, and which may still be heard in Syria, Arabia, and Persia. This strange style of singing--if it may be so called--was a feature of triumphal processions, and was always performed by women. Various references to this custom may be found in the Bible--for instance, David’s reception by the women after his victory over the Philistines and Jephthah’s reception by his daughter and her companions after the battle against the children of Ammon. We can only guess as to the nature of the choral singing at Assyrian religious festivals. Probably it was in unison or octaves, and it may have been antiphonal, as it was among the Hebrews.[20]