The Madisonian. [volume] (Washington City [i.e. Washington, D.C.]) 1837-1845, 1841-07-29
From the British Journals.
NEW MUSICAL INSTRUMENTS.

Notwithstanding that ''there is nothing new
under the SUM-" the attractive spirit of novelty
seeking has very cunously manifested itself in
the metropolis in the shape of two musical in
struments, which, if not absolutely new as TO
first principles, are wholly and successfully so
in their application. They differ widely a, to
their means Of tone the one exclusively taxing
wood the other stone, for its music, while the
mechanical perfection OF the one exceeds that
OF the other proportionaby 10 the superior PHI
ancy OF its materials, yet-remembering that the
vibratory excitement is, in one case, friction,
and on the other percussoD and the tones, con
sequently, in that sustained, and in this detach-
ed-the results are strlklngly similar, and, in
both instances, highly pleasing.
The former instrument claims our first notice.
Ii is named the "Terpodion," and is in course
OF daily exhibition by its inventor M. Busch
mann, at the Adelaide Gallery. In external APP
pearance it differs only from the square piano
forte in being somewhat shorter and deeper
than that instrument. Ii has clavier of six
and -a-haf octaves' compass, on which the per
former is enabled TO execute almost any species
Of music with the slight additional duty of pre-
serving rolatory motion within the instrument
by means of the foot employed as in the common
turning lathe and the gradatons Of its power
are produced by variety OF touch alone, and with
our the intervention of any Ventian swell or
is remarkably agreeable, varies as much in quail
" as in quantity with the degree of pressure ex
ercised in It's production. In the upper half of
its compass this quality closely resembles, under
VARYING pressure, a well-volced stop dlapason of
an organ, ctaribeiid or wood open dlapa son,
or the more reedy tone of a metal pipe of the
same length IN the tenor part of its range the
tone is more generally similar to that of metal
diapason; while the quality Of its extreme bass
hat Al.
heard wanting the decision of an organ pipe,
or the crspness of double-bass string, but be-
ing sui extremely effective and pedal-lke in
supporting extended harmonies ia the upper
part OF the instrument
As NJ. Buschmann has not patented his inven.
ton, and is consequently unwilling 10 permit a
minute inspection of its details, we are unable
to describe, accurately and technically, the me.
chanica arrangement of the Terpodion, and
can, therefore, merely lay before our readers
such general account as we have orally receiv-
ed, An antique Chinese instrument in which
tone is produced by percussion on small pieces
of wood supported by bundles of straw appears
TO have furnished M. Buschmann with an idea
OF which he has very lngenlously avalled HIM
sell "A piece OF souorous wood-dea we be
lleve, tuned by length and thickness TO the re-
CURED pitch, is attached by one end land with
"a Juncture contrived not to check vibration) to
each key oil the instrument, ana carries at lts
other extremity wire, armed at its outer end
with a small cushion or button of some soft
material On these cushions being pressed by
the action of the keys, against the surface of n
revolving cylinder of hard wood, tremulous
motion is communicated through the wires TO
their respective pieces of wood. or, as they must
be considered, reeds, which are consequently
thrown into a state of vibration proportonate to
their length and thickness, and thus produce
tone. BY what intermediate contrivaDces the
motions effected or how a sufficient vibra-
ton IS insured by contact with smooth rcvolv-
ing surface, we are, as before stated, unable to
explain. but can al least, state that the operation
i untalling, both in the gentlest commencement
OF the vibrations, and in the increase to their Ut
most power and that so pure and delicate is the
tone when piano, and so clear aud brilliant
when forte, as TO defy any correct guess at the