Page:A Dictionary of Music and Musicians vol 3.djvu/654

642 through with a fine knife, before the belly is glued on. The inner edges are sloped away, but the outer are left sharp. A couple of nicks, exactly half-way, serve to indicate the position of the bridge between the soundholes. [ E. J. P. ]

SOUND-POST (Fr. âme; It. anima; Ger. Stimmstock), a cylindrical pillar or peg used in stringed instruments. Structurally, it is correlative to the bridge: bridgeless instruments have no sound-post. It is moveable, and forms no part of the structure, but is introduced through the treble sound-hole, and stuck in, by means of a tool made for the purpose, when the fiddle is ready to be strung up, in such a way as to rest firmly on the back and to support the belly, a little behind the treble foot of the bridge. The name indicates its importance. The French and Italians call it the 'soul' (âme, anima), the Germans the 'voice' (stimme) of the fiddle. If the fiddle were strung up without a sound-post, not only would the belly be crushed in by the pressure of the strings, but it would be destitute of all tone. The function of the sound-post is to transmit to the back the vibrations which the strings excite in the bridge and belly. The instrument does not vibrate and speak as a whole until this transmission has taken place; and the more accurate the adjustment of the post, the more perfect the transmission, and the freer and fuller the tone. Thin bellies, and high models, require as a rule thick sound-posts, and vice versa. The sound-post should be made of dry resonant pine free from shakes and knots; fiddle-makers will take two or three pieces, of suitable shape, and test their comparative resonance by throwing them sharply on the bench. Its proper substance and length, and the exact distance at which it should stand behind the bridge, vary in different instruments, and are not easily determined. Old instruments, having very elastic bellies, admit of considerable uncertainty as to the proper length. The longer it is the greater is the tension, and the more shrill the tone: the closer its fibres, and the greater its thickness, the thicker the speech of the instrument: the nearer it stands to the bridge-foot, the more powerful becomes the vibration, and the harder the pull of the bow on the strings. When it is added, that its extremities must be carefully fitted to the inner surfaces between which it rests, that it should be stuck in mathematically at right angles to the axis of the fiddle, and that its grain should cross that of the belly at right angles, it becomes obvious that the making and fitting of this insignificant bit of wood are among the most difficult and important matters in the adjustment of the fiddle, and require an experienced eye and hand. If all this is not properly done, the player's ear is dissatisfied, and he has recourse to experimental changes of its position, to facilitate which a hole is sometimes drilled in the sound-post, and a piece of string permanently attached to it, so that it may be shifted about at will. This practice should never be indulged in. The soundpost has only one proper position, and once placed there, and allowed to get well into its bearings, the fiddle will yield its proper tone. Otherwise the tone will necessarily be imperfect. The importance of the sound-post has led to many attempts to improve it. The writer has heard of metallic sound-posts, and has seen one made of glass, the effect of which was intolerable. More rational than such experiments as these have been certain variations in the sort of wood employed, and in the shape, the sound-post being made elliptical or polygonal, instead of cylindrical. None of these, however, have had any success, and the round piece of pine which has been in use from the earliest times will probably never become obsolete.—Shakspere, whose eye nothing escaped, gives the name of James Soundpost to one of the rebec-players in 'Romeo and Juliet.' [ E. J. P. ]

SOUNDS AND SIGNALS, MILITARY. The use of musical instruments in war by the ancients—a use which is found in all countries and at all times—appears to have been more as an incentive to the courage of the troops than as a means of conveying orders and commands. It is in the 13th century of our era that we first find undoubted evidence of the sounding of trumpets in a field of battle as a signal for attack. At the battle of Bouvines (1215) the French charge was signalled in this manner, and numerous other instances are to be found in the chronicles of the period. For the next 200 years at least, the instrument used for signalling seems to have been the trumpet alone. The question of the introduction of the drum into Europe is one involving too much discussion to be entered upon here, but it may be mentioned as a fact that the first clear evidence of its use is the passage in Froissart (Bk. I. Pt. i. chap. 322) describing how in the year 1347, Edward III. and his company entered into Calais 'à grand foison de menestrandies, de trompes, de tambours, de nacaires, de chalemies et de muses'—no mean military band to attend the king of 'unmusical' England! It is in Italy that the drum seems first to have been used for signalling purposes. Macchiavelli, in several passages in his 'Art of War' (written for Lorenzo de' Medici in 1521), clearly states that the drum commands all things in a battle, proclaiming the commands of the officer to his troops. He also recommends the use of trumpets and flutes, the latter being apparently an idea of his own borrowed from the