# Xylophone

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Wooden keyboard percussion instrument

Xylophone Percussion instrument Classification Percussion idiophone metallophone lithophone Hornbostel–Sachs classification 111.212 (Set of percussion sticks) Developed Independently in Africa and Asia, documented as of 9th century in Asia Playing range Related instruments balafon, txalaparta, laggutu, marimba

The **xylophone** (from [Ancient Greek](/source/Ancient_Greek_language) [ξύλον](https://en.wiktionary.org/wiki/%CE%BE%CF%8D%CE%BB%CE%BF%CE%BD#Ancient_Greek)*(*xúlon*)* 'wood' and [φωνή](https://en.wiktionary.org/wiki/%CF%86%CF%89%CE%BD%CE%AE#Ancient_Greek)*(*phōnḗ*)* 'sound, voice';[1][2] lit. 'sound of wood') is a [musical instrument](/source/Musical_instrument) in the percussion family that consists of wooden bars struck by [mallets](/source/Percussion_mallet). Each bar is an [idiophone](/source/Idiophone) tuned to a pitch of a [musical scale](/source/Musical_scale), whether [pentatonic](/source/Pentatonic_scale) or [heptatonic](/source/Heptatonic_scale) in the case of many African and Asian instruments, [diatonic](/source/Diatonic_scale) in many western children's instruments, or [chromatic](/source/Chromatic_scale) for orchestral use.

The term *xylophone* may be used generally, to include all such instruments such as the [marimba](/source/Marimba), [balafon](/source/Balafon) and even the [semantron](/source/Semantron). However, in the [orchestra](/source/Orchestra), the term *xylophone* refers specifically to a chromatic instrument of somewhat higher pitch range and drier [timbre](/source/Timbre) than the marimba, and these two instruments should not be confused. A person who plays the xylophone is known as a *xylophonist* or simply a *xylophone player*.[3]

The term is also popularly used to refer to similar instruments of the [lithophone](/source/Lithophone) and [metallophone](/source/Metallophone) types. For example, the [Pixiphone](/source/Pixiphone) and many similar toys described by the makers as xylophones have bars of metal rather than of wood, and so are in [organology](/source/Organology) regarded as [glockenspiels](/source/Glockenspiel) rather than as xylophones.

## Construction of xylophones

The modern western xylophone has bars of [rosewood](/source/Rosewood), [padauk](/source/Padauk), [cocobolo](/source/Cocobolo), or various synthetic materials such as [fiberglass](/source/Fiberglass) or [fiberglass-reinforced plastic](/source/Fibre-reinforced_plastic) which allows a louder sound.[4] Some can be as small a range as 2+1⁄2 octaves but concert xylophones are typically 3+1⁄2 or 4 octaves. Like the glockenspiel, the xylophone is a [transposing instrument](/source/Transposing_instrument): its parts are written one octave below the sounding notes.[5]

Xylophone with different types of mallets

Concert xylophones have tube [resonators](/source/Resonators) below the bars to enhance the tone and sustain. Frames are made of wood or cheap steel tubing: more expensive xylophones feature height adjustment and more stability in the stand. In other music cultures some versions have [gourds](/source/Gourd)[4] that act as [Helmholtz resonators](/source/Helmholtz_resonator). Others are "trough" xylophones with a single hollow body that acts as a resonator for all the bars.[6] Old methods consisted of arranging the bars on tied bundles of straw, and, is still practiced today, placing the bars adjacent to each other in a ladder-like layout. Ancient mallets were made of willow wood with spoon-like bowls on the beaten ends.[4]

## Mallets

Xylophones should be played with very hard rubber, polyball, or acrylic mallets. Sometimes medium to hard rubber mallets, very hard core, or yarn mallets are used for softer effects. Lighter tones can be created on xylophones by using wooden-headed mallets made from rosewood, ebony, birch, or other hard woods.[*[citation needed](https://en.wikipedia.org/wiki/Wikipedia:Citation_needed)*]

## History

*[Kulintang a Kayo](/source/Kulintang_a_Kayo)*, a [Philippine](/source/Philippines) xylophone

The instrument has obscure ancient origins. Nettl proposed that it originated in southeast Asia and came to Africa c. AD 500 when a group of Austronesian speaking peoples migrated to Africa, and compared East African xylophone orchestras and Javanese and Balinese gamelan orchestras.[7]: 18–19, 100 This hypothesis was challenged by ethnomusicologist and linguist Roger Blench, who posits an independent origin of the xylophone in Africa, citing, among the evidence for local invention, distinct features of African xylophones and the greater variety of xylophone types and proto-xylophone-like instruments in Africa.[8]

### Asian xylophone

The earliest evidence of a true xylophone is from the 9th century in [southeast Asia](/source/Southeast_Asia), while a similar hanging wood instrument, a type of [harmonicon](/source/Panharmonicon), is said by the Vienna Symphonic Library to have existed in 2000 BC in what is now part of China. The xylophone-like [ranat](/source/Ranat_(musical_instrument)) was used in [Hindu](/source/Hindu) regions (kashta tharang). In [Indonesia](/source/Indonesia), few regions have their own type of xylophones. In [North Sumatra](/source/North_Sumatra), The [Toba Batak people](/source/Toba_Batak_people) use wooden xylophones known as the Garantung (spelled: "garattung"). [Java](/source/Java) and [Bali](/source/Bali) use xylophones (called [gambang](/source/Gambang_(instrument)), Rindik and Tingklik) in [gamelan](/source/Gamelan) ensembles. They still have traditional significance in [Malaysia](/source/Malaysia), [Melanesia](/source/Melanesia), Indonesia, [Thailand](/source/Thailand), [Myanmar](/source/Myanmar), and regions of the Americas. In Myanmar, the xylophone is known as [Pattala](/source/Pattala) and is typically made of bamboo.

### African xylophone

African Xylophone also known as Ogbongelenge by the Igbo tribe. [AID Project](https://meta.wikimedia.org/wiki/Audiovisuals_of_Igbo_Dances_(AID)_Project)

The term *marimba* is also applied to various traditional folk instruments such as the West Africa *[balafon](/source/Balafon)*. Early forms were constructed of bars atop a [gourd](/source/Gourd).[9] The wood is first roasted around a fire before shaping the key to achieve the desired tone. The resonator is tuned to the key through careful choice of size of resonator, adjustment of the diameter of the mouth of the resonator using wasp wax and adjustment of the height of the key above the resonator. A skilled maker can produce startling amplification. The mallets used to play *dibinda* and *mbila* have heads made from natural rubber taken from a wild creeping plant.[10] "Interlocking" or alternating rhythm features in Eastern African xylophone music such as that of the Makonde *dimbila*, the Yao *mangolongondo* or the Shirima *mangwilo* in which the *opachera*, the initial [caller](/source/Call_and_response_(music)), is responded to by another player, the *wakulela*.[11] This usually doubles an already rapid [rhythmic pulse](/source/Pulse_(music)) that may also co-exist with a [counter-rhythm](/source/Cross-beat).

#### Mbila

Timbila

The mbila (plural "timbila") is associated with the [Chopi people](/source/Chopi_people) of the [Inhambane Province](/source/Inhambane_Province), in southern Mozambique.[10] It is not to be confused with the [mbira](/source/Mbira). The [style](/source/Musical_genre) of music played on it is believed to be the most sophisticated method of composition yet found among preliterate peoples.[12] The gourd-resonated, equal-ratio [heptatonic](/source/Heptatonic)-tuned mbila of [Mozambique](/source/Mozambique) is typically played in large ensembles in a choreographed dance, perhaps depicting a historical drama. Ensembles consist of around ten xylophones of three or four sizes. A full orchestra would have two bass instruments called *gulu* with three or four wooden keys played standing up using heavy mallets with solid rubber heads, three tenor *dibinda*, with ten keys and played seated, and the mbila itself, which has up to nineteen keys of which up to eight may be played simultaneously. The *gulu* uses gourds and the *mbila* and *dibinda* Masala apple shells as resonators. They accompany the dance with long compositions called *ngomi* or *mgodo* and consist of about 10 pieces of music grouped into 4 separate movements, with an overture, in different [tempos](/source/Tempo) and styles. The ensemble leader serves as poet, composer, conductor and [performer](/source/Performer), creating a text, improvising a [melody](/source/Melody) partially based on the features of the Chopi [tone language](/source/Tone_language) and composing a second [contrapuntal](/source/Counterpoint) line. The musicians of the ensemble partially [improvise](/source/Improvisation) their parts. The composer then consults with the choreographer of the ceremony and adjustments are made.[7] The longest and most important of these is the "Mzeno" which will include a song telling of an issue of local importance or even making fun of a prominent figure in the community![10] Performers include Eduardo Durão and Venancio Mbande.[10][13][14]

#### Gyil

Main article: [Balafon](/source/Balafon)

The ***gyil*** (English: [/ˈdʒɪlə, dʒiːl/](https://en.wikipedia.org/wiki/Help:IPA/English)) is a [pentatonic](/source/Pentatonic) instrument common to the [Gur](/source/Gur_languages)-speaking populations in [Ghana](/source/Ghana), [Burkina Faso](/source/Burkina_Faso), [Mali](/source/Mali) and [Ivory Coast](/source/Ivory_Coast) in [West Africa](/source/West_Africa). The Gyil is the primary traditional instrument of the [Dagara people](/source/Dagara_people) of northern Ghana and Burkina Faso, and of the [Lobi](/source/Lobi_people) of Ghana, southern Burkina Faso, and Ivory Coast. The gyil is usually played in pairs, accompanied by a calabash gourd drum called a *kuor*. It can also be played by one person with the drum and the stick part as accompaniment, or by a soloist. Gyil duets are the traditional music of Dagara funerals. The instrument is generally played by men, who learn to play while young, however, there is no restriction on gender.

The Gyil's design is similar to the *Balaba* or [Balafon](/source/Balafon) used by the [Mande](/source/Mande_languages)-speaking [Bambara](/source/Bambara_people), [Dyula](/source/Dyula_people) and [Sosso](/source/Sosso) peoples further west in southern [Mali](/source/Mali) and western [Burkina Faso](/source/Burkina_Faso), a region that shares many musical traditions with those of northern Ivory Coast and Ghana. It is made with 14 wooden keys of an African hardwood called liga attached to a wooden frame, below which hang [calabash](/source/Calabash) gourds.[15] Spider web silk covers small holes in the gourds to produce a buzzing sound and antelope sinew and leather are used for the fastenings.[15] The instrument is played with rubber-headed wooden mallets.

#### Silimba

A *silimba* in a Zambian market

The **silimba** is a xylophone common among the Nkoya and Lozi people of [Barotseland](/source/Barotseland), western [Zambia](/source/Zambia).[16] The tuned keys are tied atop resonating [gourds](/source/Gourds).[17] Known as shinjimba among the Nkoya, it is used at the Kazanga, a traditional royal ceremony of the Nkoya. The silimba is an essential part of the folk music traditions of the [Lozi people](/source/Lozi_people) and can be heard at their annual [Kuomboka](/source/Kuomboka) ceremony. The shilimba is now used in most parts of Zambia.

#### Akadinda, amadinda and mbaire

The **akadinda** and the **amadinda** are xylophone-like instruments originating in [Buganda](/source/Buganda), in modern-day [Uganda](/source/Uganda).[18] The amadinda is made of twelve logs which are tuned in a pentatonic scale. It mainly is played by three players. Two players sit opposite of each other and play the same logs in an interlocking technique in a fast tempo. It has no gourd resonators or buzzing tone, two characteristics of many other African xylophones.[19]

The amadinda was an important instrument at the royal court in Buganda, a Ugandan kingdom. A special type of [notation](/source/Musical_notation) is now used for this xylophone, consisting of numbers for and periods.[20] as is also the case with the **embaire**, a type of xylophone originating in southern [Uganda](/source/Uganda).[20]

#### Balo

Main article: [Balafon](/source/Balafon)

The ***balo*** (***balenjeh***, ***behlanjeh***) is used among the [Mandinka people](/source/Mandinka_people) of West Africa. Its keys are mounted on gourds, and struck with mallets with rubber tips. The players typically wear iron cylinders and rings attached to their hands so that they jingle as they play.[21]

### Western xylophone

Orchestral xylophone (left) and marimba (right)

The earliest mention of a xylophone in Europe was in [Arnolt Schlick](/source/Arnolt_Schlick)'s *Spiegel der Orgelmacher und Organisten* (1511), where it is called *hültze glechter* ("wooden clatter").[22][23] There follow other descriptions of the instrument, though the term "xylophone" is not used until the 1860s.[24] The instrument was associated largely with the folk music of Central Europe, notably Poland and eastern Germany. An early version appeared in [Slovakia](/source/Slovakia)[7]: 98 and the earliest reference to a similar instrument came in the 14th century.[25]

The first use of a European orchestral xylophone was in [Camille Saint-Saëns](/source/Camille_Saint-Sa%C3%ABns)' *[Danse Macabre](/source/Danse_Macabre_(Saint-Sa%C3%ABns))*, in 1874.[4] By that time, the instrument had already been popularized to some extent by [Michael Josef Gusikov](/source/Josef_Gusikov),[26] whose instrument was the five-row xylophone made of 28 crude wooden bars arranged in semitones in the form of a trapezoid and resting on straw supports. There were no resonators and it was played fast with spoon-shaped sticks. According to musicologist [Curt Sachs](/source/Curt_Sachs), Gusikov performed in garden concerts, variety shows, and as a novelty act at symphony concerts.

The western xylophone was used by early jazz bands and in [vaudeville](/source/Vaudeville). Its bright, lively sound worked well the syncopated dance music of the 1920s and 1930s. [Red Norvo](/source/Red_Norvo), George Cary, [George Hamilton Green](/source/George_Hamilton_Green), [Teddy Brown](/source/Teddy_Brown), Harry Breuer and Harry Robbins were among the well-known players. As time passed, the xylophone was exceeded in popularity by the metal-key [vibraphone](/source/Vibraphone), which was developed in the 1920s. A xylophone with a range extending downwards into the marimba range is called a [xylorimba](/source/Xylorimba).

In orchestral scores, a xylophone can be indicated by the French *claquebois*, German *Holzharmonika* (literally "wooden harmonica"), or Italian *silofono*.[23] [Shostakovich](/source/Dmitri_Shostakovich) was particularly fond of the instrument; it has prominent roles in much of his work, including most of his [symphonies](/source/Symphony) and his [Cello Concerto No. 2](/source/Cello_Concerto_No._2_(Shostakovich)). The xylophone also plays a prominent role in [Khachaturian](/source/Aram_Khachaturian)'s [Sabre Dance](/source/Sabre_Dance). Modern xylophone players include [Bob Becker](/source/Bob_Becker_(composer)), [Evelyn Glennie](/source/Evelyn_Glennie) and Ian Finkel.

[A jingle played on a xylophone (marimba)](https://en.wikipedia.org/wiki/File:Xylophone_jingle.wav)

[A gamelan xylophone](https://en.wikipedia.org/wiki/File:Bali_xylophone.ogg)

*Problems playing these files? See [media help](https://en.wikipedia.org/wiki/Help:Media).*

In the United States, there are Zimbabwean marimba bands in particularly high concentration in the Pacific Northwest, Colorado, and New Mexico, but bands exist from the East Coast through California and even to Hawaii and Alaska. The main event for this community is ZimFest, the annual Zimbabwean Music Festival. The bands are composed of instruments from high sopranos, through to lower soprano, tenor, baritone, and bass. Resonators are usually made with holes covered by thin cellophane (similar to the [balafon](/source/Balafon)) to achieve the characteristic buzzing sound. The repertoires of U.S. bands tends to have a great overlap, due to the common source of the Zimbabwean musician [Dumisani Maraire](/source/Dumisani_Maraire), who was the key person who first brought Zimbabwean music to the West, coming to the University of Washington in 1968.

## Use in elementary education

Three Orff-Schulwerk xylophones of different ranges.

Many music educators use xylophones as a classroom resource to assist children's musical development. One method noted for its use of xylophones is [Orff-Schulwerk](/source/Orff-Schulwerk), which combines the use of instruments, movement, singing and speech to develop children's musical abilities.[27] Xylophones used in American general music classrooms are smaller, at about 1+1⁄2 octaves, than the 2+1⁄2 or more octave range of performance xylophones. The bass xylophone ranges are written from middle C to A an octave higher but sound one octave lower than written. The alto ranges are written from middle C to A an octave higher and sound as written. The soprano ranges are written from middle C to A an octave higher but sound one octave higher than written.[28]

According to Andrew Tracey, marimbas were introduced to Zimbabwe in 1960.[16] [Zimbabwean](/source/Music_of_Zimbabwe) marimba based upon [Shona music](/source/Shona_music) has also become popular in the West, which adopted the original use of these instruments to play transcriptions of [mbira](/source/Mbira) dzavadzimu (as well as *nyunga nyunga* and *matepe*) music. The first of these transcriptions had originally been used for music education in Zimbabwe. Zimbabwean instruments are often in a diatonic C major scale, which allows them to be played with a 'western-tuned' mbira (G nyamaropa), sometimes with an added F♯ key placed inline.

## See also

- [Musical Stones of Skiddaw](/source/Musical_Stones_of_Skiddaw)

## Citations

1. **[^](#cite_ref-1)** Henry George Liddell; Robert Scott, eds. (1940). ["ξύλον"](https://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.04.0057:entry=cu/lon1). *A Greek-English Lexicon*. Henry Stuart Jones, Roderick McKenzie. Oxford: Clarendon Press. Retrieved 24 February 2023 – via www.perseus.tufts.edu.

1. **[^](#cite_ref-2)** Henry George Liddell; Robert Scott, eds. (1940). ["φων-ή"](https://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.04.0057:entry=fwnh/). *A Greek-English Lexicon*. Henry Stuart Jones, Roderick McKenzie. Oxford: Clarendon Press. Retrieved 24 February 2023 – via www.perseus.tufts.edu.

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1. **[^](#cite_ref-8)** Blench, Roger (1 November 2012). "Using diverse sources of evidence for reconstructing the prehistory of musical exchanges in the Indian Ocean and their broader significance for cultural prehistory". *African Archaeological Review*. special issue: 7–11. [doi](/source/Doi_(identifier)):[10.1007/s10437-014-9178-z](https://doi.org/10.1007%2Fs10437-014-9178-z). [S2CID](/source/S2CID_(identifier)) [162200224](https://api.semanticscholar.org/CorpusID:162200224).

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1. ^ [***a***](#cite_ref-ATracey_History_16-0) [***b***](#cite_ref-ATracey_History_16-1) Tracey, Andrew (26 May 2004). ["Marimbas History"](https://web.archive.org/web/20170630191209/http://www.kalimba.co.za/old/marimbahistory.html). *kalimba.co.za*. Andrew Tracey and Christian Carver. Archived from [the original](http://www.kalimba.co.za/old/marimbahistory.html) on 30 June 2017. Retrieved 30 September 2013.

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1. ^ [***a***](#cite_ref-britannica1_20-0) [***b***](#cite_ref-britannica1_20-1) ["African music :: Interlocking"](http://www.britannica.com/EBchecked/topic/719112/African-music/57086/Interlocking#ref=ref519777). *Encyclopædia Britannica*. Retrieved 25 April 2009.

1. **[^](#cite_ref-21)** ["The Behlanjeh, the national musical instrument of the Mandingos"](https://web.archive.org/web/20070627205236/http://www.dspace.cam.ac.uk/handle/1810/1240). Royal Commonwealth Society Library. Cambridge University Library. University of Cambridge. 5 November 2004. Archived from [the original](https://www.dspace.cam.ac.uk/handle/1810/1240) on 27 June 2007.

1. **[^](#cite_ref-VSL_22-0)** ["History – The world of wooden mallet instruments"](https://web.archive.org/web/20180430183151/https://www.vsl.co.at/en/Xylophone/History). *Vsl.co.at*. Vienna Symphonic Library. Archived from [the original](https://vsl.co.at/en/Xylophone/History) on 30 April 2018. Retrieved 1 November 2011.

1. ^ [***a***](#cite_ref-Grove_23-0) [***b***](#cite_ref-Grove_23-1) Anderson, Lois Ann; et al. (2001). "Xylophone". In [Sadie, Stanley](/source/Stanley_Sadie); [Tyrrell, John](/source/John_Tyrrell_(musicologist)) (eds.). *[The New Grove Dictionary of Music and Musicians](/source/The_New_Grove_Dictionary_of_Music_and_Musicians)* (2nd ed.). London: [Macmillan Publishers](/source/Macmillan_Publishers). [ISBN](/source/ISBN_(identifier)) [978-1-56159-239-5](https://en.wikipedia.org/wiki/Special:BookSources/978-1-56159-239-5). ‎

1. **[^](#cite_ref-24)** "xylophone". *[Oxford English Dictionary](/source/Oxford_English_Dictionary)* (Second ed.). Oxford University Press. 1989. 7 April 1866 edition of the *[Athenaeum](/source/Athenaeum_(British_magazine))*: 'A prodigy ... who does wonderful things with little drumsticks on a machine of wooden keys, called the 'xylophone'.' ["Leaves for the Little Ones"](https://books.google.com/books?id=7EYFAAAAQAAJ&pg=RA2-PA152). *The Ladies' Companion*. Rogerson and Tuxford: 152. 1865. ...and Master Bonnay, on the Xylophone, is always recalled. Both citations refer to the performance of a child prodigy, Sunbury.

1. **[^](#cite_ref-25)** ["The Xylophone"](https://web.archive.org/web/20070813000208/http://www.concertgoersguide.org/onstage/instruments/thexylophone.php). *Concertgoersguide.org*. Oregon Symphony Players Association. Archived from [the original](http://www.concertgoersguide.org/onstage/instruments/thexylophone.php) on 13 August 2007. Retrieved 5 June 2015.

1. **[^](#cite_ref-26)** [Michael Joseph Guzikow Archives](http://www.rainlore.demon.co.uk/Guzikow/GuzikowArchs.html) [Archived](https://web.archive.org/web/20061230034331/http://www.rainlore.demon.co.uk/Guzikow/GuzikowArchs.html) 30 December 2006 at the [Wayback Machine](/source/Wayback_Machine)

1. **[^](#cite_ref-27)** ["American Orff-Schulwerk Association"](http://www.aosa.org/). Aosa.org. Retrieved 1 November 2011.

1. **[^](#cite_ref-28)** Keetman, Gunild; Orff, Carl (1958). *Orff-Schulwerk Music for Children*. Translated by Margaret Murray. London: Schott & Co. Ltd.

## General and cited references

- Hallis, Ron; Hallis, Ophera (1987). [*Chopi Music of Mozambique*](https://web.archive.org/web/20080619213619/http://hallisfilms.com/) (16 mm video; 28 minutes). Archived from the original on 19 June 2008.

- Paco, Celso (2000). "A Luta Continua". In Broughton, Simon; Ellingham, Mark; McConnachie, James; Duane, Orla (eds.). *World Music, Vol. 1: Africa, Europe and the Middle East*. Rough Guides Ltd., Penguin Books. pp. 579–584. [ISBN](/source/ISBN_(identifier)) [1-85828-636-0](https://en.wikipedia.org/wiki/Special:BookSources/1-85828-636-0).

- [Tracey, Hugh](/source/Hugh_Tracey) (1948). [*Chopi Musicians: their Music, Poetry, and Instruments*](https://archive.org/details/chopimusiciansth0000trac) (1970 ed.). London: International African Institute and Oxford University Press. [ISBN](/source/ISBN_(identifier)) [9780197241820](https://en.wikipedia.org/wiki/Special:BookSources/9780197241820). {{[cite book](https://en.wikipedia.org/wiki/Template:Cite_book)}}: ISBN / Date incompatibility ([help](https://en.wikipedia.org/wiki/Help:CS1_errors#invalid_isbn_date))

- *Mgodo Wa Mbanguzi*. Chopi village in southern Mozambique: Gei Zantzinger and Andrew Tracey. [OCLC](/source/OCLC_(identifier)) [47815221](https://search.worldcat.org/oclc/47815221).

## External links

Wikimedia Commons has media related to [Xylophones](https://commons.wikimedia.org/wiki/Category:Xylophones).

- Schlesinger, Kathleen (1911). ["Xylophone"](https://en.wikisource.org/wiki/1911_Encyclop%C3%A6dia_Britannica/Xylophone). *[Encyclopædia Britannica](/source/Encyclop%C3%A6dia_Britannica_Eleventh_Edition)*. Vol. 28 (11th ed.). p. 889.

v t e Percussion instruments List of percussion instruments List of percussion instruments by type Pitched percussion Keyboard percussion Aluphone Carillon Crotales Glockenspiel Marimba Tubaphone Tubular bells Vibraphone Xylophone Handbell Handpan Rototom Steelpan Tabla Timpani Unpitched percussion Bass drum Bodhrán Bongos Cabasa Cajón Castanets Clapstick Claves Conga Cowbell Cymbals Djembe Jawbone Maracas Mark tree Snare drum Taiko Tambourine Tam-tam Temple blocks Timbales Triangle Vibraslap Wood block Electronic percussion Drum machine Electronic drum Octapad Percussion groupings Drum kit Marching percussion Front ensemble Indoor percussion ensemble Percussion section Percussion ensemble Drum circle Other Classification of percussion instruments Drum stick Percussion mallet List of cymbal manufacturers List of drum manufacturers List of keyboard percussion manufacturers List of timpani manufacturers

v t e Stick percussion idiophones Balafon Dhantal Gandingan a Kayo Glasschord Glass marimba Kulintang a kayo Luntang Marimba Triangle Xylophone Xylorimba

Authority control databases International GND National United States France BnF data Czech Republic Israel Other MusicBrainz instrument Yale LUX

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