A salpinx ( / ˈ s æ l p ɪ ŋ k s / ; plural salpinges / s æ l ˈ p ɪ n dʒ iː z / ; Greek σάλπιγξ ) was a trumpet-like instrument used by the ancient Greeks. It was used to send signals on the battlefield, and to mark the start of meetings or races in sports events.

Construction

The salpinx was a musical instrument made of a straight, narrow bronze tube. It had a mouthpiece made of bone and a bell (also made of bronze) that could be cone-shaped, round, or bulb-like. Each type of bell might have changed the sound the instrument made. Some ancient drawings show the salpinx being used with a phorbeia, which is a leather strap worn by aulos players to help support their mouth and produce a strong sound. This has led to some discussion about whether the salpinx used a reed. However, it is unlikely because the mouthpiece was made of solid bone, and a cane reed would not have been strong enough to handle the high air pressure needed to create a loud sound on the battlefield. The salpinx was similar to a shorter version of the Roman tuba, which was about 1.5 meters long. As noted by Anthony Baines in his book Brass Instruments: Their History and Development, no fully confirmed Greek salpinx has been found. However, Boston’s Museum of Fine Arts has a salpinx believed to be from the Hellenistic or Roman Imperial periods, which was supposedly discovered in Olympia. This instrument is unique because it is made of thirteen bone pieces connected with tenons and sockets (using bronze ferrules), unlike the long, single bronze tube described in other sources. This salpinx is over 1.57 meters long, much longer than the typical salpinx, which was estimated to be about 0.8 to 1.20 meters long.

Origin

The trumpet appears in many ancient civilizations, making it hard to find out when or where the long, straight design of the salpinx began. References to the salpinx are often found in Greek literature and art. Early descriptions of the salpinx’s sound appear in Homer’s Iliad (9th or 8th century BC). However, this early mention is rare, and more frequent references appear later during the Classical period. Similar instruments exist in Anatolia, Mesopotamia, and Egypt, but the salpinx is most closely linked to the Egyptian version. In classical writings, the salpinx is sometimes called tyrrhene, a name used by the Greeks to refer to the Etruscan people. The Etruscans valued bronze instruments and were respected by the Greeks for their musical contributions. Greek authors such as Aeschylus, Pollux, and Sophocles describe the salpinx, supporting the idea that it may have been invented by the Etruscans. It is likely that the Greeks learned about the salpinx through the Etruscans. However, earlier mentions of the salpinx before Greek contact with the Etruscans, along with descriptions of many different types of salpinx instruments by Eustathius of Thessalonica, suggest some uncertainty about whether the Greeks received the instrument directly from the Etruscans or through another group.

Uses

The salpinx, an ancient Greek instrument, was often shown in art and writing as being played by soldiers. Fifth-century writers frequently connected its loud, sharp sound to war, as it was used to signal events, gather crowds, and start chariot races. Aristotle, in his work De audibilibus, wrote that the salpinx was used to "summon people in war, at games, and so on, not to make music." Aristides Quintilianus, in his treatise On Music, explained that soldiers used specific tones or "melodies" on the salpinx to give commands during battles. This allowed entire armies to hear orders at once and kept the sounds secret since only certain groups understood the calls. However, the loud noise of the salpinx might have been hard to hear over the chaos of battle, such as the clashing of weapons and shouting. Because of this, the salpinx was mainly used before battles to call soldiers to prepare or signal an attack.

Andrew Barker mentions a possible exception to the salpinx's use in war. He refers to Aristotle, who wrote that people relaxed their breathing when playing the salpinx during celebrations to make the sound softer. This suggests the instrument might also have been used in festivals. Nikos Xanthoulis, in his article "The Salpinx in Greek Antiquity," supports this by pointing out Aristotle's description of people at a komos—a street festival with music and dance—who loosened their breath to create a smoother sound. This indicates the salpinx was used outside of military settings. Another use was to silence noisy crowds, such as in large meetings or to quiet soldiers while a leader spoke.

The salpinx likely produced only the first few notes of the harmonic series because of its size and shape. On the battlefield, soldiers probably focused on blowing one or two loud notes to ensure the sound could travel far.

Herodorus of Megara, a late 4th-century salpinktes (player of the salpinx), was described as a tall man with strong lungs and a healthy appetite. He slept on bear skin and could play two salpinges at once. His sound was so loud it could scare people nearby and helped Demetrius I Poliorcetes conquer Argos.

Epistades, a 4th-century BCE salpinktes, was said to be heard from about 8.9 kilometers away, according to Pollux.

Aglaisi Megakleous, a 3rd-century BCE woman, played the salpinx and wore a helmet during a grand procession in Alexandria.

Archias of Yvla, a classical-era player, was famous for projecting his sound without amplifiers. He won three Olympic trumpet competitions and the Pythian games.

Modern scientists are recreating the sound of the salpinx through the ASTRA project. They use a method called physical modeling synthesis to simulate the instrument's sound. Because this process is complex, the project uses grid computing, which involves hundreds of computers across Europe, to model the sounds.

The salpinx is part of the Lost Sounds Orchestra, which includes other ancient instruments whose sounds have been recreated by ASTRA, such as the epigonion, aulos, barbiton, and syrinx.