The music is recorded on a cylinder with pins. The interior is divided into three compartments: the first contains the crank and the mechanism that operates the cylinder with pins, the second - the cylinder with pins and vibrating lamellae, and the third - two levers for starting and stopping the melody. The cylinder holds seven melodies by W.A. Mozart, which are played through the vibration of steel teeth arranged in a comb, whose tips are adjacent to the cylinder. The lid of the box features floral marquetry on its outer surface. This cultural asset is classified under the "Tezaur" category.
The Story of Musical Boxes
Musical boxes originated in Switzerland at the end of the 18th century. In 1796, watchmaker Antoine Favre-Salomon invented a pocket watch with an incorporated musical mechanism, using the principle of tuned metal lamellae. The invention quickly spread, soon leading to the creation of musical boxes independent of watches.
Initially invented and built for the salon entertainment of the aristocracy, musical boxes quickly evolved, capturing the market and public interest with these entertainment machines. The musical box industry was predominantly centered in Switzerland. Geneva remains the cradle of the musical box, even though the art of crafting these musical wonders spread to other regions of Switzerland - such as Jura, Auberson, and Sainte Croix - and later to other countries, including France, Germany, and Czechoslovakia. Some of the most notable manufacturers of musical boxes include: Mermod Frères, Paillard, Reuge, Thorens, Cuendet, Junod, Nicole Frères, Ducommun-Girod, Brémond, and L'Epee.
The musical box operated on a relatively simple principle: a cylinder with pins (cylindrical pins) would, through rotation, actuate a metal "comb" tuned to specific musical notes, both being concealed from view in one of the box's compartments. By turning the cylinder - with the help of a spring mechanism (similar to that of watches) - the pins would strike the steel "teeth" of the comb, causing them to vibrate and produce different musical notes. A musical box could have a limited number of melodies "programmed" onto the cylinder - from 4 to 12.
Over time, the cylinders were replaced with interchangeable metal discs. Based on this operating principle, large musical boxes emerged in cafés and taverns, which could be activated by inserting a coin, allowing users to select their preferred disc.
Besides the ingenious mechanism, musical boxes also stood out for the artistry of their exterior decorations, featuring materials such as precious woods, mother-of-pearl, ivory, and metal.
The decline of musical boxes began with the invention of the phonograph (1877) and the gramophone (1887). Production continued for a while, but by the early 20th century, most renowned companies had abandoned the business and started manufacturing other mechanical musical instruments.
Lamps in the funeral practice of the Scythians of the North Black Sea littoral
Tyragetia, serie nouă, vol. IX [XXIV], nr. 1, Arheologie. Istorie Antică Chișinău, 2015
Abstract
The article analyzes the place of the lamps in the funeral practice of the Scythians of the Northern Black Sea littoral. Metal (bronze and iron), as well as wheel made and hand-made lamps are examined. It is indicated that the bronze and wheel made lamps are Greek imports; iron lamps are products of local blacksmiths; hand-made lamps are imitations of Greek wheel made models. A typology that takes into account the morphological features of all vessels is done for hand-made lamps. The wide spread of the lamps in Scythian burial complexes in the North Black Sea littoral in 3rd-2nd centuries BC in comparison with the previous time, testifies about transition to a sedentary way of life of Scythian population at this time and about Greek influence on its funeral practice and material culture.
List of illustrations: Fig. 1. Granite (1), iron (6) and bronze (2-5, 7-9) lamps from the monuments of North Black Sea littoral: 1 - burial 13/4 L’vovo (after Евдокимов 1992); 2 - barrow Baba (after Национальный музей 2013); 3 - Olănești hoard (after Сергеев 1966); 4 - barrow Chertomlyk (after Алексеев, Мурзин, Ролле 1991); 5 - barrow Oguz (after Спицын 1906); 6 - burial 4/2 of Strashnaya Mogila group (after Тереножкин и др. 1973); 7 - barrow 6 Bashmachka (after Спицын 1901); 8 - Central tomb of the Tolstaya Mogila (after Мозолевський 1979); 9 - household niche of the Lateral tomb of the Tolstaya Mogila (after Мозолевський 1979). Fig. 2. Wheel-made (1-13) and handmade (14-22) lamps from the Scythian burial monuments of the North Black Sea littoral: 1 - burial 16/1 of the Kugurluy cemetery (after Полин 2014); 2 - burial 18/2 of the Kugurluy cemetery (after Полин 2014); 3 - burial 24/1 of the Kugurluy cemetery (after Полин 2014); 4 - burial 67 of the soil cemetery Nikolaevka (after Мелюкова 1975); 5 - barrow 2J (33) of the Petukhovka cemetery (after Полин 1992); 6, 7 - barrow 3Q (53) of the Petukhovka cemetery (after Полин 1992); 8 - barrow 3S (56) of the Petukhovka cemetery (after Полин 1992); 9 - barrow 4B (59) of the Petukhovka cemetery (after Полин 1992); 10 - burial 1/1 Pervomaevka (after Евдокимов, Фридман 1987); 11 - East manhole of the Kara-Tiube barrow (after Болтрик 1993); 12 - burial 60/2 of the Aktash cemetery (after Бессонова, Бунятян, Гаврилюк 1988); 13 - burial 1/2 Lenino (after Яковенко 1970; Яковенко 1974); 14 - burial 49 of the soil cemetery Nikolaevka (after Мелюкова 1975); 15 - barrow 154 Parkany (after Мелюкова 1962); 16, 17 - barrow 159 Parkany (after Мелюкова 1962); 18 - barrow 173 Parkany (after Мелюкова 1962); 19 - barrow 402 Chobruchi (after Фабрициус 1951); 20 - barrow 405 Chobruchi (after Мелюкова 1962); 21 - barrow 9 Novovasil’evka (after Гребенников, Ребедайло 1991); 22 - burial on the earthwork of the Znamenskoe settlement (after Погребова 1958). Fig. 3. Bronze lamps (1-3) and bronze (5) and iron (4, 6-8) candelabras from the monuments of the North Black Sea littoral: 1, 4 - burial 31/1 of the Glinoe cemetery; 2 - Klimenkov hoard (after Яценко 1962); 3 - Artyuhovsky barrow (after Толстой, Кондаков 1889); 5 - barrow 24 (1876) on the Nymphaeum necropolis (after Силантьева 1959); 6 - burial 700 of the Ust’-Alma necropolis (after Пуздровский 2007); 7 - vault 620 of the Ust’-Alma necropolis (after Пуздровский 2007); 8 - burial 730 of the Ust’-Alma necropolis (after Пуздровский 2007). Fig. 4. Wheel made lamps from the Scythian cemetery of Glinoe on the left bank of the Lower Dniester: 1 - burial 2/2; 2 - burial 33/2; 3 - burial 37/1; 4 - burial 50/1; 5, 6 - burial 84/1; 7 - burial 88/1. Fig. 5. Typology of the hand-made lamps. Fig. 6. Hand-made lamps from the Scythian cemetery of Glinoe: 1 - burial l4/1; 2 - burial 7/1; 3 - burial 10/1; 4 - burial 11/1; 5 - burial 14/2; 6 - burial 17/1; 7 - burial 18/1; 8 - burial 18/2; 9 - burial 23/1; 10, 11 - burial 33/1; 12 - burial 38/1; 13 - burial 40/1; 14 - burial 49/1. Fig. 7. Hand-made lamps from the Scythian cemetery of Glinoe: 1 - burial 51/1; 2, 3 - burial 52/1; 4 - burial 54/2; 5 - burial 54/3; 6 - burial 55/1; 7 - burial 56/1; 8, 9 - burial 57/1; 10, 11 - burial 60/1. Fig. 8. Hand-made from the Scythian cemetery of Glinoe: 1 - burial 60/2; 2, 3 - burial 61/1; 4 - burial 63/1; 5 - burial 66/1; 6, 7 - burial 69/2; 8 - burial 74/1; 9 - burial 76/1; 10 - burial 78/3; 11 - burial 79/1; 12 - burial 86/1. Fig. 9. Hand-made lamps (1-5) as well as wheel made (6) and hand-made (7-12) vessels used as lamps, from the Scythian cemetery of Glinoe: 1 - burial 88/1; 2 - burial 91/2; 3 - burial 92/1; 4 - burial 96/1; 5 - burial 112/1; 6 - foot of the amphorae from the burial 41/2; 7 – foot-ring of the bowl from the burial 2/2; 8 - cup from burial 3/1; 9 - the bottom of the bowl from the burial 13/1; 10 - the lower part of the pot from the burial 17/1; 11 - cup from burial 76/1; 12 - the lower part of the jug (?) from the burial 80/1.
Сергей Разумов, Сергей Лысенко, Виталий Синика, Николай Тельнов
Early Bronze Age ritual complex from the left bank of the Lower Dniester
Tyragetia, serie nouă, vol. X [XXV], nr. 1, Arheologie. Istorie Antică
Виталий Синика, Николай Тельнов, Сергей Лысенко, Сергей Разумов
Barrow 16 of the “Sluiceway” group in the Lower Dniester region
Tyragetia, serie nouă, vol. XV [XXX], nr. 1, Arheologie. Istorie Antică, Chişinău, 2021
The music is recorded on a cylinder with pins. The interior is divided into three compartments: the first contains the crank and the mechanism that operates the cylinder with pins, the second - the cylinder with pins and vibrating lamellae, and the third - two levers for starting and stopping the melody...
The National Museum of History of Moldova takes place among the most significant museum institutions of the Republic of Moldova, in terms of both its collection and scientific reputation.
The National Museum of History of Moldova takes place among the most significant museum institutions of the Republic of Moldova, in terms of both its collection and scientific reputation.
The National Museum of History of Moldova takes place among the most significant museum institutions of the Republic of Moldova, in terms of both its collection and scientific reputation.