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Ivory pipes, with fleur-de-lys engraved on the chanter stock. Shuttle drone (for four reeds). Chanter with seven silver keys and with an auxiliary closed chanter (petit chalumeau) od flat shape attached to it, this also with six silver keys. Ivory bellows pipe, and also a vacant stock apparently for optional use of mouth blow-pipe instead of the bellows. Bellows bag cover of silk velvet, originally salmon-pink, trimmed with silk ribbon ruched. Under this, an inner cover of dark green silk. ' - Anthony Baines: Catalogue of Musical Instruments in the Victoria and Albert Museum - Part II: Non-keyboard insturments. (London, 1998), p. 102.

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  • 1750~, France
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  • Ivory pipes, with fleur-de-lys engraved on the chanter stock. Shuttle drone (for four reeds). Chanter with seven silver keys and with an auxiliary closed chanter (<i>petit chalumeau</i>) od flat shape attached to it, this also with six silver keys. Ivory bellows pipe, and also a vacant stock apparently for optional use of mouth blow-pipe instead of the bellows. Bellows bag cover of silk velvet, originally salmon-pink, trimmed with silk ribbon ruched. Under this, an inner cover of dark green silk. ' - Anthony Baines: Catalogue of Musical Instruments in the Victoria and Albert Museum - Part II: Non-keyboard insturments. (London, 1998), p. 102. (en)
  • This type of French bagpipe was known as a <i>musette</i>, and was played in courtly circles from about 1670, with pieces written for it by composers like Jean Philippe Rameau (1683–1764). Together with the <i>cornemuse</i>, a bagpipe with a mouthpiece, it has a much softer and more flute-like sound than the more familiar Scottish version of the instrument. The windbag is made of air-tight, greased silk, covered with layers of silk bags, and the protruding pipe, chanters and drone barrel are made of ivory. Unlike the <i>cornemuse</i>, the <i>musette</i> was fitted with bellows to provide the necessary wind, but the bellows are now missing from this example. The drone barrel was fitted with slots and slides, which helped tune the drones, which provided the background hum, and cut out any unwanted sounds. On loan to the Horniman Museum. (en)
  • Musette, turned and engraved ivory with silk velvet bag and silver keys, France, ca. 1750 (en)
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dc:identifier
  • 394-1871
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  • Ivory pipes, with fleur-de-lys engraved on the chanter stock. Shuttle drone (for four reeds). Chanter with seven silver keys and with an auxiliary closed chanter (<i>petit chalumeau</i>) od flat shape attached to it, this also with six silver keys. Ivory bellows pipe, and also a vacant stock apparently for optional use of mouth blow-pipe instead of the bellows. Bellows bag cover of silk velvet, originally salmon-pink, trimmed with silk ribbon ruched. Under this, an inner cover of dark green silk. ' - Anthony Baines: Catalogue of Musical Instruments in the Victoria and Albert Museum - Part II: Non-keyboard insturments. (London, 1998), p. 102. (en)
  • This type of French bagpipe was known as a <i>musette</i>, and was played in courtly circles from about 1670, with pieces written for it by composers like Jean Philippe Rameau (1683–1764). Together with the <i>cornemuse</i>, a bagpipe with a mouthpiece, it has a much softer and more flute-like sound than the more familiar Scottish version of the instrument. The windbag is made of air-tight, greased silk, covered with layers of silk bags, and the protruding pipe, chanters and drone barrel are made of ivory. Unlike the <i>cornemuse</i>, the <i>musette</i> was fitted with bellows to provide the necessary wind, but the bellows are now missing from this example. The drone barrel was fitted with slots and slides, which helped tune the drones, which provided the background hum, and cut out any unwanted sounds. On loan to the Horniman Museum. (en)
  • Musette, turned and engraved ivory with silk velvet bag and silver keys, France, ca. 1750 (en)
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  • 1750~, France
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