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In East Africa, offerings such as cattle are made to the royal kettledrums, which not only symbolize the king's power and status but also offer him supernatural protection.
Kettledrums are royal, ritual, or ceremonial, and unlike their North African counterparts they are of wood, often with sculpted shells.
Handel complied with the king's request, scoring the music for 9 trumpets, 9 horns, 24 oboes, 12 bassoons, 1 contrabassoon, 1 serpent, 6 kettledrums, and 2 side drums, but he later added strings for the first indoor performance.
In the mid-15th century the large paired kettledrums of the Ottoman Turks were taken to Europe, principally by way of Hungary and Germany.
Drumming tradition in the Islamic north centres on smaller, portable drums, such as frame, goblet, and small kettledrums.
Three basic kinds of drums exist among indigenous groups in the Americas: single-headed drums, double-headed drums, and kettledrums.
Similar(8)
Klee's "Landscape in the Kettledrum" (1920) similarly resembles musical notation.
The baya (bahina or bayan, meaning "left"), played with the left hand, is a deep kettledrum measuring about 25 cm (10 inches) in height, and the drum face is about 20 cm (8 inches) in diameter.
During the 17th and 18th centuries kettledrumming developed into an elaborate and ostentatious ceremonial art that used complicated drum patterns based on the multiple tonguing technique of trumpeters.
In Turkey classical monophonic singing is accompanied solely by a small kettledrum, played either in the centre of the head or close to the rim, depending upon whether clear or muffled beats are desired.
The orchestral kettledrum has a practical compass of five full tones.
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