At about the same time that "Turkish music" was coming into vogue in Europe, a fashion for programmatic keyboard music opened the way for the introduction of another kind of noise in the form of the keyboard cluster, played with the fist, flat of the hand, forearm, or even an auxiliary object placed on the keyboard. On the harpsichord and piano, this device was found mainly in "battle" pieces, where it was used to represent cannon fire. The earliest instance was by Jean-François Dandrieu, in "Les Caractères de la guerre" (1724), and for the next hundred years it remained predominantly a French feature, with examples by Michel Corrette ("La Victoire d'un combat naval, remportée par une frégate contre plusieurs corsaires réunis", 1780), Claude-Bénigne Balbastre ("March des Marseillois", 1793), Pierre Antoine César ("La Battaille de Gemmap, ou la prise de Mons", ca. 1794), and Jacques-Marie Beauvarlet-Charpentier ("Bataille d'Austerlitz", 1805). In 1800, Bernard Viguerie introduced the sound to chamber music, in the keyboard part of a piano trio titled "La Bataille de Maringo, pièce militaire et historique". The last time this pianistic "cannon" effect was used before the 20th century was in 1861, in a depiction of the then-recent The Battle of Manassas in a piece by the black American piano virtuoso "Blind Tom" Bethune, a piece that also feature vocalised sound-effect noises.