#Exhibit of the Month

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.

Virtual Tour

Publications

Journal „Tyragetia"

vol. IX [XXIV], nr. 1

The spiritual life of the Noua-Sabatinovka-Coslogeni communities through the prism of the non-funerary items found in settlements

ISSN 1857-0240
E-ISSN 2537-6330

Mariana Sîrbu

The spiritual life of the Noua-Sabatinovka-Coslogeni communities through the prism of the non-funerary items found in settlements

Tyragetia, serie nouă, vol. IX [XXIV], nr. 1, Arheologie. Istorie Antică Chișinău, 2015

Abstract

This article presents and analyzes non-funeral objects of worship, which were found throughout the area of spreading of the complex of Noua-Sabatinovka-Coslogeni cultures. The spiritual aspect of life of these communities is well deﬁ ned by places of worship (some parts of the “ashpits” and dwellings, ritual pits) and by the presence of votive objects made of clay, stone, bone and bronze (anthropomorphic and zoomorphic representations, small balls, miniature vessels and rollers, buttons, pendants, etc.) in the settlements. The present study aims to identify features of the Noua-Sabatinovka-Coslogeni communities’ spiritual life not related to burial rites based on archaeological data obtained as a result of excavations in the settlements throughout the spread of this complex of cultures.

List of illustrations: Fig. 1. Anthropomorphic representations: 1, 2 - Popeni (after Diaconu 2008, ﬁ g. 2/1, 6); 3 - Trușești (after Florescu 1991, ﬁ g. 154/1); 4 - Ibănești (after Diaconu 2008, ﬁ g. 2/7); 5-7 - Novokievka (after Gerškovič 1999, Taf. 36/1, 9, 10); 8, 9 - Cobîlea (after Sava 2005, Abb. 11/1, 2); 10, 11 - Nicoleni (after Florescu 1991, ﬁ g. 95/2, 3); 12 - Mologa (after Агульников, Малюкевичь 2010, рис. 4/5). 1-3 - bone; 4 - stone; 5-12 - baked clay. 1-4, 10-11 - without scale. Fig. 2. Zoomorphic representations made of baked clay: 1-4 - Ghindești (after Мелюкова 1961, рис. 7/1-4); 5, 11, 13 - Novokievka (after Gerškovič 1999, Taf. 18/4, 5; 36/13); 6 - Hansca (Никулицэ 1981, рис. 7/7); 7 - OdaiaMiciurin (after Сава, Кайзер 2011, рис. 91/23 ); 8, 10 - Mereni (after Sava 2002, ﬁ g. 3/1, 2); 9 - Lichitișeni (after Florescu 1991, ﬁ g. 95/1); 12 - Platonești (after Rența 2008, ﬁ g. 13); 14 - Stepovoe (after Шарафутдинова 1985, рис. 134/12). 9, 12, 14 - without scale. Fig. 3. Miniature rollers: 1, 3 - Novokievka (after Gerškovic 1999, Taf. 38/5, 6); 2 - Simionești (after Florescu 1991, ﬁ g. 97/2); 4 - Suruceni (after Никулицэ 1979, рис. 8); 5 - Nisporeni. Discs: 7-9 - Gârbovăț (after Florescu 1991, ﬁ g. 96/11; 97/12, 13); 10 - Odaia-Miciurin (after Сава, Кайзер 2011, рис. 91/19); 11 - Cobîlea (after Левицкий 1988, рис. 17/4); 12 - Novokievka (after Gerškovič 1999, Taf. 18/2). Miniature vessels: 6 - Nisporeni; 13 - Olteni (after Buzea 2003, foto 159); 14, 16, 18 - Ostrivec (after Балагурi 1968, рис. 5/14, 21, 22); 15, 17 - Cobîlea (after Levitsckii, Sava 1993, des. 11/7; 13/9). 13-18 - without scale. Fig. 4. Objects of baked clay: 1-3, 13 - Petrușeni (after Левицкий 1985, рис. 15/19, 16/1, 3, 6); 4, 5 - Mahala (after Смирнова 1972, рис. 5/14, 15); 6 - Cobîlea (after Левицкий 1988, рис. 24/2); 7 - Giurcani (after Rotaru 1983, ﬁ g. 6/6); 8 - Căușeni (after Левинский 1986, рис. 8/5); 9, 15, 16 - Odaia-Miciurin (after Сава, Кайзер 2011, рис. 91/1, 3, 5); 11, 12, 14 - Novokievka (after Gerškovič 1999, Taf. 18/1; 37/8; 38/2); 10 - Mologa (after Агульников, Малюкевичь 2010, рис. 4/6). Fig. 5. Bone buttons: 1 - Bărboasa (after Florescu 1991, ﬁ g. 153/4); 2 - Cavadinești (Florecu 1991, ﬁ g. 153/8); 3, 4 - Gârbovăț (after Florescu 1991, ﬁ g. 153/3, 7); 5 - Andrieșeni (after Florescu 1991, ﬁ g. 153/1); 6 - SloboziaŞireuți. Bone pendants: 7 - Zlatopol’ (after Gerškovič 1999, Taf. 10/4); 8 - Slobozia-Şireuți; 9 - Ghindești (after Мелюкова 1961, рис. 9/4); 10 - Novoselica (after Тощев, Черняков 1986, рис. 6/7); 11 - Petrușeni (after Levitsckii, Sava 1993, des. 3/11); 12 - Odaia-Miciurin (after Сава, Кайзер 2011, рис. 84/14). Pendants made of animal teeth: 13 - Ghindești (after Мелюкова 1961, рис. 11/6); 14-16 - Gîrbovăț (after Florescu 1991, ﬁ g. 155/2, 5, 11); 17 - Cavadinești (after Florescu 1991, ﬁ g. 155/10). Bronze pendants: 18 - Ostrivec (after Балагурi 1968, рис. 3/8); 19 - Mahala (after Смирнова 1968, рис. 7/I 21); 20, 26 - Ulmi-Liteni (after Diaconu 2012, ﬁ g. 1/1, 11); 21 - Mălăiești (after Diaconu 2012, ﬁ g. 2/3); 22, 25 - Ghindești (after Dergacev 2012, ﬁ g. 8/23, 24); 23 - Belcești (after Diaconu 2012, ﬁ g. 1/12); 24 - Odaia-Miciurin (after Сава, Кайзер 2011, рис. 72/26). 1-5, 10, 14-19 - without scale. Fig. 6. Oval stone objects: 1, 5, 6 - Čikalovka (after Шарафутдiнова 1964, рис. 7/2-6); 2 - Ghindești (after Мелюкова 1961, рис. 11/5); 3 - Odaia-Miciurin (after Сава, Кайзер 2011, рис. 87/10); 4 - Novokievka (after Gerškovič 1999, Taf. 35/9). Scepters: 7, 9 - Chiperceni (after Савва 1987, рис. 2/9; 3/9); 8 - Ghindești (after Мелюкова 1961, рис. 11/12); 10 - Čikalovka (after Шарафутдiнова 1964, рис. 7/1); 11 - Petreni (after Савва 1987, рис. 2/4); 12 - Voinești (after Florescu 1991, ﬁ g. 158/6). Stone discs: 13 - Slobozia-Şireuți; 14 - Cuconești. Mortar: 15 - Basarabeasca (after Сава 1987, рис. 2/24). Fig. 7. Cobîlea. Human mandible found in the “ashpit” no. 1: 1 - drawing (after Levitsckii, Sava 1993, des. 11/9); 2, 3 - photos. Fig. 8. Tomai. Plan and section of the “ashpit” (after Щербакова 1984, табл. V). Fig. 9. Samurza. General plan of the excavation no. 1 (after Агульников 1984, рис. 2). Fig. 10. Căușeni: 1 - votive deposit of clay objects (after Левинский 1986, рис. 10/1 ); 2 - ritual pit? (after Левинский 1986, рис. 10/2). Fig. 11. Mologa: 32 - plan and section of the pit no. 21, 1-31 – ﬁ ndings from the pit no. 21 (after Агульников, Малюкевичь 2010, рис. 2-4). Fig. 12. Novokievka. Dwelling no. 2. Votive objects of baked clay (after Gerškovič 1999, Taf. 18). Fig. 13. Novokievka. Dwelling no. 6, pit no. 1: 1 - plan and section of the pit no. 1; 2-12 - ﬁ ndings from the pit no. 1 (after Gerškovič 1999, Taf. 37). Fig. 14. Čikalovka. Votive objects of baked clay found within the dwelling no. 3 (after Шарафутдiнова 1964, рис. 6/12-15). Fig. 15. Usovo-Ozero. Timber grave culture. Dwelling no. 5. Votive objects of baked clay (after Березанская 1990, рис. 23/2). Fig. 16. Novokievka. Votive objects found in the pits outside dwellings: 1-7, 9-13 - pit no. 18; 8 - pit no. 17 (after Gerškovič 1999, Taf. 36).

Mariana Sîrbu, Veaceslav Bicbaev

A pit of the Late Bronze Age discovered near the lake of Valea Morilor in Chișinău

Tyragetia, serie nouă, vol. X [XXV], nr. 1, Arheologie. Istorie Antică

Mariana Sîrbu, Sergiu Popovici, Vlad Vornic

The hoard of bronze artifacts discovered near village Haragîş (Cantemir district)

Tyragetia, serie nouă, vol. XIII [XXVIII], nr. 1, Arheologie. Istorie Antică

Regina Uhl, Mariana Vasilache-Curoșu, Veaceslav Bicbaev, Mariana Sîrbu, Livia Sîrbu

Bericht über die archäologischen Arbeiten in Petreni, Republik Moldau

Tyragetia, serie nouă, vol. X [XXV], nr. 1, Arheologie. Istorie Antică

Mariana Sîrbu, Denis Topal, Eugen Sava, Lazar Dermenji

Bronze items discovered on the settlements of the Noua-Sabatinovka cultures from the collection of the National Museum of History of Moldova

Tyragetia, serie nouă, vol. XIV [XXIX], nr. 1, Arheologie. Istorie Antică, Chişinău, 2020