THE ROLE OF TURKISH PERCUSSION IN THE HISTORY AND ...

as fourteen inches on a side. Prior to its inclusion in the orchestra, its primary function was
decorative, supplementing the natural tone of the other instruments with a rattling or jingling
sound much like the Turkish crescent. 16
Known by many different names including le chapeau chinois and “Jingling Johnny,”
the Turkish crescent consisted of a wooden pole topped by one or more metal crescents with
horsetail plumes of different colors hanging from the sides. Tiers of bells and jingles were
suspended from lavish ornaments so that when the pole was held vertically and shaken or
twisted, a rich mixture of bright colors and metallic tones resulted.
The predecessor of the Turkish crescent was originally carried as a staff by the
shaman, the religious leader of the natives of northern Asia, who believed that good and evil
spirits pervade the world and can be summoned or heard through inspired priests acting as
mediums. 17 It was believed that the tinkling of its jingling discs could chase away evil spirits.
In China, the staff was raised to signal the start of ceremonial music throughout the Chou
dynasty (1122-255 B.C.). As the instrument moved westward, the Turkish crescent symbol
was added to adorn the top of the staff as a distinguishing icon. Janissary bands maintained
multiple crescent players, including one governor of the ensemble who carried his crescent at
the head of the band to assist in keeping the marching rhythm. The leader also led in dance-
like behavior that added a lively visual element to the band. By the time of Turkey’s conquest
in Europe the Turkish crescent had become the insignia of the highest dignitaries. It was
gradually revised with additional bells and mingled with other instruments in the military
16 James Blades, Percussion Instruments and Their History, (London: Faber and Faber Limited, 1984), 191;
Gordon B. Peters, “Treatise On Percussion” (M.A. thesis, University of Rochester, 1962), 104-06; Curt Sachs,
The History of Musical Instruments, (New York: W. W. Norton and Company, Inc., 1940), 437; The New Grove
Dictionary of Music and Musicians (2001), s.v. “Triangle.”
17 The American Heritage Dictionary, 2 nd ed., s.v. “Shamanism.”
18