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5th century B.C., Attica, by the Phiale Painter. Red-figure phiale woman dancing with crotala (Boston MFA 97.371)
Illustration taken from the drawing of an ancient marble in Spon's Miscellanea,[1] representing one of the crotalistriae performing.

In classical antiquity, a crotalum, (κρόταλον krotalon)[2] plural crotala, was a kind of clapper or castanet used in religious dances by groups in ancient Greece and elsewhere, including the Korybantes.[3][4]

The term has been erroneously supposed by some writers to be the same as the sistrum. These mistakes are refuted at length by Friedrich Adolph Lampe (1683–1729) in De cymbalis veterum.[5] From the Suda and the Scholiast on Aristophanes (Nubes, 260), it appears to have been a split reed or cane, which clattered when shaken with the hand. According to Eustathius (Il. XI.160), it was made of shell and brass, as well as wood. Clement of Alexandria attributes the instruments invention to the Sicilians, and forbids the use thereof to the Christians, because of the motions and gestures accompanying the practice.[6][7]

Afterlife scene of a woman playing crotalum clappers leading a man playing a barbitos lyre.

Women who played on the crotalum were termed crotalistriae. Such was Virgil's Copa (2),

Crispum sub crotalo docta movere latus.

This line alludes to the dance with crotala (similar to castanets), for which we have the additional testimony of Macrobius (Saturnalia III.14.4‑8).[6]

As the instrument made a noise somewhat like that of a crane's bill, the bird was called crotalistria, "player on crotala".[7]

Pausanias affirms by way of the epic poet Pisander of Camirus that Heracles did not kill the birds of Lake Stymphalia, but that he drove them away by playing on crotala. Based on this, the instrument must be exceedingly ancient.[7][8][9]

The word krotalon is often applied, by an easy metaphor, to a noisy talkative person (Aristoph. Nub. 448; Eurip. Cycl. 104).[6]

[edit]
See: Cymbalum

The instrument continued to be used in a modified form through the early medieval period. The variant illustrated in the Byzantine and Carolingian Empires consisted of a forked stick with cymbals attached to the ends.

  • Circa 520-510 B.C., Athens. Dancing maenad with krotala.
    Circa 520-510 B.C., Athens. Dancing maenad with krotala.
  • 4th century A.D., Byzantine Empire. Krotala player, from the Mosaic of the Female Musicians, Mariamin. The crotala and cymbala were played by musicians in the same group.
    4th century A.D., Byzantine Empire. Krotala player, from the Mosaic of the Female Musicians, Mariamin. The crotala and cymbala were played by musicians in the same group.
  • 4th century A.D. Mosaic from the city of Augusta Traiana showing maenads dancing with Dionysus, playing krotalum and cymbalum (finger cymbals) .
    4th century A.D. Mosaic from the city of Augusta Traiana showing maenads dancing with Dionysus, playing krotalum and cymbalum (finger cymbals) .
  • 9th century A.D., Carolingian Empire. Aeman playing crotals, showing a blending of ancient traditions in the medieval period; in the Carolingian Renaissance, the Roman cymbala cymbals were attached to "forked sticks" to make the crotals.[10][11]
    9th century A.D., Carolingian Empire. Aeman playing crotals, showing a blending of ancient traditions in the medieval period; in the Carolingian Renaissance, the Roman cymbala cymbals were attached to "forked sticks" to make the crotals.[10][11]

References

[edit]
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Crotalum

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The crotalum (Greek: κρόταλον, plural κρόταλα) was a in and , resembling modern or clappers, typically consisting of paired pieces of split reed, cane, , , shell, or metal that produced a clattering sound when struck together or shaken. Invented by the according to ancient accounts, it was held in the hand by performers known as crotalistriae (female clapper-players) and manipulated to mark rhythm during dances. Primarily used in religious and ecstatic contexts, the crotalum accompanied rituals and processions linked to deities such as , , and the Corybantes, enhancing the fervor of choral dances and mysteries as described in classical literature. Archaeological evidence, including depictions on vases and reliefs, shows its role in both Greek symposia and Roman performances, distinguishing it from similar instruments like the or cymbals. Beyond music, the term occasionally appeared metaphorically in to denote or loquacity, reflecting its sharp, resonant tone.

Etymology and Terminology

Origin of the Term

The term crotalum derives from the ancient Greek krotalon (κρόταλον), an onomatopoeic noun formed from the verb kroteō (κροτέω), meaning "to beat, strike, or rattle," which imitates the sharp clacking noise produced by the instrument's colliding parts. This etymology underscores the instrument's primary function as a simple percussive device, often consisting of paired pieces held in the hand to create rhythmic accompaniment. The earliest literary attestations of krotalon occur in the , a corpus of poems dated to the 7th–6th centuries BCE. In Hymn 14, "To the Mother of the Gods," composed around the late 6th century BCE, the term describes one of the sounds delighting the goddess, paired with timbrels (hymenai), flutes, and the cries of wild animals in wooded settings, highlighting its role in ecstatic . Other hymns from this collection similarly reference the instrument in ritual contexts, establishing it as a staple of early Greek by the Archaic period. As Greek culture influenced , krotalon was adapted into Latin as crotalum, preserving its connotation of rattling percussion. The term appears in the works of 1st-century BCE–CE poets such as and , who invoked it to evoke the clamor of Dionysiac or Cybelean processions; for instance, Ovid uses crotala in contexts depicting ecstatic rites. employs it in the poem Copa (line 2) to describe a dancer's motions: "Crispum sub crotalo docta movere latus."

Linguistic Variations

The term crotalum entered Latin from the ancient Greek krotalon (κρόταλον), retaining its essential meaning as a clapper or castanet-like instrument while appearing in Roman literary contexts to denote percussion used in dances and rituals. In works such as Ovid's Metamorphoses, it describes the rhythmic accompaniment to ecstatic movements. Virgil employs the plural crotala in his poem Copa (line 2) to evoke a dancer's lively motions: "Crispum sub crotalo docta movere latus." Macrobius further references crotala in Saturnalia (III.14.4–8), associating them with theatrical performances and distinguishing their clacking sound from larger cymbals (cymbala). Roman authors consistently differentiated crotalum from the sistrum, an Egyptian-derived rattle with metal rods, emphasizing the former's paired, hand-held design for percussive beats rather than shaking. In Byzantine Greek, the term evolved minimally as krotalon, preserving classical connotations amid the empire's synthesis of Hellenistic and Christian traditions. Liturgical adaptations during the medieval period transformed it into a wooden clapper, used in Eastern Orthodox rites—particularly during to substitute for silenced bells—reflecting a shift from dance to solemn signaling. Byzantine variants, such as forked sticks with attached cymbals, illustrate regional adaptations documented in late antique sources that persisted into the medieval era. Modern scholarly transliterations favor krotalon for the original Greek form in English-language academia, aligning with phonetic accuracy to distinguish it from the Latinized crotalum, as seen in studies of ancient and . This convention aids in analyzing classical texts, such as those by or , where the term denotes percussive elements in mythic narratives. A common point of confusion arises with Crotalus, the biological genus encompassing rattlesnakes, named in the after the Greek krotalon due to the tail's rattling resemblance to the instrument's sound—yet the zoological term postdates and diverges from the ancient artifact. Such overlaps highlight the term's enduring onomatopoeic root but require contextual clarification in interdisciplinary scholarship.

Physical Description

Materials and Construction

The crotalum, known in as krotalon (plural krotala), was primarily constructed from lightweight, resonant materials suited to handheld percussion, with archaeological and iconographic evidence indicating regional variations in material choice. In , wooden variants predominated, often fashioned from cane, reed splits, or planks, as evidenced by the hand-shaped wooden plaques discovered at the Late Bronze Age site of Akrotiri on Thera, which resemble ritual clappers. Bone and were also used, particularly for carved clappers in more elaborate examples, providing a crisp, sharp tone when struck; a Roman-period artifact from features carved clappers attached to wooden handles, tied with or fabric for flexibility. These organic materials were selected for their availability and acoustic properties, ensuring the instrument remained portable and lightweight, typically weighing under 200 grams per pair to facilitate rhythmic shaking during dances. Construction techniques involved pairing two concave or flat pieces to form clappers that could be clapped together, connected at one end by strips, strings, or thongs to allow an opening of up to 90 degrees for controlled vibration. This design, common across Greek examples, enabled the pieces to snap shut when manipulated between the fingers, producing a clap; vase paintings from workshops, such as red-figure hydriai from the 5th-4th centuries BCE, depict these as ergonomic, boot- or L-shaped forms held via loops for precise handling. In Roman contexts, influenced by Etruscan traditions, or other metal versions emerged, often with hinged mechanisms for durability and louder resonance. These metal iterations, cast or forged into paired semicircles approximately 5-10 cm in diameter, were lighter than solid tools, prioritizing mobility over volume. Regional preferences highlight adaptations to local resources and cultural exchanges: Greek specimens favored wood and shell for their natural in outdoor rituals, while Roman and Etruscan-influenced pieces shifted toward for enhanced projection in theatrical performances, with reserved for elite or votive artifacts. Overall lengths ranged from 10-20 cm, balancing portability with audible impact, as inferred from both physical remains and depictions on . This construction emphasized simplicity and functionality, allowing the crotalum to produce varied rhythms without complex assembly.

Design and Mechanism

The crotalum functioned primarily through a mechanism involving two concave pieces, typically held together in one hand and struck rhythmically to produce a sharp clatter. These pieces, often shaped like shells or flat paddles, were loosely connected at one end by leather strips or thongs, permitting an opening of up to 90 degrees that allowed the performer to control the force and intensity of the collision. When manipulated—either by crushing with the fingers or shaking the instrument—the impact generated a crisp, percussive sound suited for marking in ensemble performances. Design variations centered on handheld pairs as the standard form, with the two clappers operated simultaneously in one hand, though performers frequently used a set in each hand for layered rhythms. Some versions featured wooden handles joined by fabric or , with carved sections acting as natural springs to facilitate rapid snapping, while others resembled simple split reeds or canes clacked together without additional attachments. Metal constructions, such as those in , incorporated resonance-enhancing properties that amplified the clatter for greater projection, distinguishing them from quieter wooden or shell variants often used in closer settings. Ergonomic elements ensured usability during extended play, including central leather loops or grips positioned for secure hold by the thumb and middle finger, enabling precise control and durability under vigorous motion. This design allowed sustained shaking or snapping without slippage, as evidenced by surviving artifacts and contemporary analyses of ancient depictions. Tension in the connecting strips further modulated sound volume, with tighter bindings producing sharper, more controlled clatters compared to looser arrangements for broader, echoing effects.

Historical Context

Origins in Ancient Greece

The earliest evidence for precursors to the crotalum emerges in the Bronze Age Aegean, particularly with the discovery of three wooden hand-shaped clappers at the Minoan site of Akrotiri on Thera, dating to the Late Minoan period (circa 1700–1500 BCE). These artifacts, found in a prehistoric settlement context, were likely employed in ritual performances and bear striking resemblances to Egyptian hand clappers used in ceremonial music, pointing to influences from trade networks connecting the Aegean with and the . Similar rattling or clapper-like devices appear in Mycenaean contexts (circa 1600–1100 BCE), reflecting the adoption and adaptation of Minoan musical traditions on the Greek mainland, though direct examples remain limited. By the Archaic period (8th–6th centuries BCE), the crotalum attained its fully developed form as paired clappers, transitioning from rudimentary wooden or reed constructions to more sophisticated versions for enhanced resonance and durability. The oldest depictions occur in Geometric , including a rattle-like on a late 8th-century BCE Athenian pitcher, marking the instrument's integration into early Greek artistic representations of communal activities. This evolution was shaped by ongoing exchanges with cultures, where similar clapper instruments facilitated rhythmic accompaniment in processions and dances. The crotalum proliferated across Greek city-states during the Classical period, gaining prominence in Athens through its frequent portrayal in black- and red-figure vase paintings from the 6th to 5th centuries BCE, often in scenes of female dancers maintaining rhythm. By the 5th century BCE, the instrument had become embedded in Dionysian cults in Athens, where maenads wielded bronze pairs to punctuate ecstatic rituals, and in related Orphic practices emphasizing mystical purification through rhythmic sound.

Adoption in Ancient Rome

The crotalum, a consisting of paired clappers, entered Roman culture through Hellenistic influences following the cultural exchanges and conquests of the BCE, particularly via the importation of eastern cults like that of (Magna Mater) in 204 BCE during the Second Punic War. This adoption integrated the instrument into Roman religious and performative practices, where it accompanied ecstatic s and rituals originally foreign to traditional Roman but adapted to suit imperial needs. Primary evidence for its early use appears in accounts of dance instruction among Roman nobility, as recorded by later authors reflecting on republican-era customs. Roman adaptations of the diverged from its simpler Greek wooden or shell forms by incorporating more durable materials such as , allowing for louder, more resonant sounds suitable for public performances. Literary references highlight its role in dances, with describing a skilled performer moving rhythmically "under the " in his Copa, evoking its use in lively, Hellenistic-inspired entertainments. By the late Republic, the instrument was employed by professional female dancers known as crotalistriae, who manipulated the clappers to punctuate movements in theatrical mimes and cultic processions, blending Greek ritual elements with Roman spectacles. , in his (3.14.4–8), preserves earlier testimonies from the Second Punic War era, noting how even freeborn children and senators' sons learned to play the in dance schools, underscoring its widespread integration into elite education and social display despite moral critiques from figures like . In religious contexts, the crotalum retained its association with imported Hellenistic deities, notably in the ecstatic rites of , where it joined tympana and cymbala to create frenzied soundscapes during festivals like the Megalesia. These performances, held in from the 2nd century BCE onward, featured priests and adapted Greek-Phrygian traditions for Roman audiences, emphasizing the instrument's role in invoking divine fervor. Archaeological and literary evidence, including depictions in and references in representations, illustrate its evolution into a versatile tool for both sacred and secular events, such as processional dances that highlighted imperial patronage. The crotalum's prominence waned with the empire's Christianization in the late 3rd and 4th centuries CE, as pagan rituals faced suppression under emperors like , who banned non-Christian practices in 391–392 CE. Its distinctly pagan connotations led to its gradual obsolescence in mainstream Roman culture by the 5th century.

Cultural and Religious Role

Use in Rituals and Dances

The crotalum, a percussive instrument, served primarily to provide rhythmic in ecstatic dances during religious ceremonies, helping to synchronize movements with other sounds and induce heightened emotional states. In Corybantic rites dedicated to the goddess (also known as Rhea in Greek contexts), participants used crotala to mark the intense, frenzied steps of the dance, often integrating the clappers' sharp clacks with the melodies of auloi (double-reed flutes) and the resonant beats of tympana (frame drums). Similarly, in Bacchic processions honoring Dionysos, such as those during the and festivals, maenads employed crotala to propel the group's forward momentum, creating a pulsating backdrop that amplified the ritual's orgiastic energy without introducing melodic elements. Techniques for playing the crotalum emphasized its role in enhancing dynamics, with performers typically holding pairs of the instruments in each hand and them together rhythmically to produce crisp, sounds that underscored footwork and gestures. This dual-hand usage was evident in ensemble performances, including choruses in 5th-century BCE theatrical productions by , where actors portraying maenads or satyrs incorporated crotala to mimic ritual ecstasy on stage, syncing the clappers' beats with auloi to heighten dramatic tension. Socially, the crotalum was predominantly wielded by women—such as maenads, priestesses, or participants—in these rituals, though satyrs and male occasionally joined in to represent mythical attendants. Its non-melodic percussion fostered trance-like immersion by focusing attention on bodily rhythm and communal synchronization, aiding the pursuit of release during festivals without distracting from the dance's spiritual intensity.

Associations with Deities and Myths

In ancient Greek mythology, the crotalum (or krotala) was intrinsically linked to , the god of wine, revelry, and ecstatic release, where it served as a symbol of divine frenzy and possession. Maenads, the god's wild female devotees, are frequently portrayed in myths and vase paintings as wielding krotala during their thiasoi, or ritual processions, to heighten the chaotic energy of worship and invoke Dionysus's transformative power. This association underscores the instrument's role in narratives of divine ecstasy, such as those surrounding the god's introduction of his cult, where the clappers' sharp rhythm mimicked the irrepressible madness that overtook his followers. A prominent example appears in Roman adaptations of Greek lore, particularly Ovid's (c. 8 CE), which recounts Bacchic rites involving percussive clamor akin to the crotalum's sound, as in the festival honoring Bacchus where devotees clash instruments to celebrate the god's liberating influence. In the myth of the —three sisters punished for scorning Dionysus's worship—the encroaching sounds of the festivities, including tambourines and cymbals, represent the irresistible pull of divine possession in such ecstatic contexts. These stories emphasize the crotalum not merely as a tool but as an emblem of the god's dual nature: joyous abandon intertwined with perilous mania. The crotalum also featured prominently in myths tied to , goddess of fertility, nature, and martial vigor, and her frenzied attendants, the Corybantes. The Homeric Hymn to the Mother of the Gods (c. BCE) explicitly praises Cybele as delighting in the "sound of rattles [krotala] and of timbrels," portraying the instrument as central to her ecstatic cult practices that blended themes of creation and destruction. In these narratives, the Corybantes' armored dances, accompanied by krotala, symbolized the goddess's life-giving and warlike aspects, evoking thunderous rhythms to honor her sovereignty over the wild and the civilized. This mythological linkage highlights the crotalum's broader role in representing divine forces that demand surrender through .

Archaeological Evidence and Modern Study

Key Discoveries and Artifacts

One of the most significant physical artifacts of the crotalum is a pair of crotals housed in the (museum number EA26260), dating to the Roman period and originating from . This instrument consists of two small saucer-shaped cymbals attached to a handle shaped like , topped with an elaborate ornamental grip featuring geometric patterns. Another similar example (museum number EA54014) features a wooden handle terminating in a grip covered with leather, demonstrating variations in construction materials while maintaining the core mechanism of clappers fixed to a hinged frame. These artifacts provide direct evidence of the crotalum's use in Graeco-Roman contexts, particularly in ritual and performative settings, as indicated by their association with Ptolemaic and Roman cultural practices in . Earlier examples include three wooden hand-shaped krotala discovered at Akrotiri on Thera, dating to the Late (ca. 17th–16th century BCE). These plaques, carved to resemble human hands or clapping forms, closely resemble Egyptian ivory clappers used in religious ceremonies and suggest cultural exchanges between the Aegean world and , highlighting the instrument's prehistoric ritual significance. Such finds underscore the crotalum's evolution from wooden prototypes in the to more durable metal versions in later periods. Preservation challenges have limited the survival of crotala, particularly those made from organic materials like wood, reed, or , which degrade rapidly in most archaeological environments due to moisture, soil acidity, and biological activity. As a result, scholars rely heavily on metal artifacts, such as the bronze examples from , and indirect evidence from depictions on and wall paintings. For instance, a black-figure in the (inv. E 755) illustrates a dancing with crotala, offering insights into their performative role in society. Key collections, including those in the and the , preserve these rare physical and representational items, enabling reconstructions of the instrument's form and function.

Reconstructions and Contemporary Analysis

Modern reconstructions of the crotalum, or krotala, have been undertaken to revive its use in performances and scholarly studies, drawing on archaeological evidence and ancient descriptions. One notable example is the hand-crafted version produced by instrument maker Panagiotis Stefos of the LyrAvlos ensemble in Athens, utilizing authentic materials such as wood, gut strings, goat skins, and bronze to replicate classical Greek designs from around 430 BCE. This reconstruction emphasizes the instrument's rustic timbre, captured through multi-velocity recordings for contemporary music production, including up to 12 round-robin variations per articulation to simulate natural play. Similarly, a reconstruction housed at the Museum of Ancient Greek Musical Instruments in Katakolon, Greece, employs cane, shell, wood, or metal components, held via leather loops on the thumbs and middle fingers, and struck together like modern castanets to maintain rhythmic tempo in ensemble settings. Contemporary analysis highlights the crotalum's acoustic properties and cultural function, often comparing it to later instruments for rhythmic emphasis rather than melodic contribution. Scholars describe its sound as a sharp, clashing percussion suited for marking time in dances and s, distinct from pitched instruments like cymbals, with no fixed tonal range but effective for evoking frenzy in Dionysian contexts. Iconographic studies of , such as those by Daniela Castaldo, reveal over 200 depictions from the Geometric to red-figure periods (ca. 800–400 BCE), portraying krotala in women's scenes—maenads, processions, and symposia—where the instrument symbolizes , possession, and communal ecstasy, often paired with tympana for layered percussion. These analyses underscore the crotalum's role in gender-specific performances, transitioning from handheld clappers in Hellenistic bronze examples (3rd–1st century BCE) to handle-mounted variants by the Roman period, as seen in a artifact circa 400 CE featuring small (4–5 cm) metal plates for enhanced resonance. In modern applications, reconstructed crotala facilitate and , enabling performances that approximate ancient ensemble acoustics without altering theater designs. Such efforts reveal the crotalum's enduring influence on Mediterranean percussion traditions, evolving toward forms like Andalusian while preserving its ritualistic intensity in scholarly and artistic contexts.

References

  1. https://penelope.uchicago.edu/Thayer/E/Roman/Texts/secondary/SMIGRA*/Crotalum.html
  2. https://journals.openedition.org/pallas/19830
  3. https://monoskop.org/images/a/a9/West_ML_Ancient_Greek_Music.pdf
  4. https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0138%3Ahymn%3D14
  5. https://penelope.uchicago.edu/Thayer/E/Roman/Texts/secondary/SMIGRA*/Sistrum.html
  6. https://www.britannica.com/art/krotalon
  7. https://cnah.org/taxon.aspx?taxon=Crotalus_horridus
  8. https://www.academia.edu/5027320/Wooden_hand_shaped_krotala_from_Akrotiri
  9. https://collections.mfa.org/objects/153261
  10. https://kotsanas.com/en/the-krotala-clappers/
  11. https://collections.mfa.org/objects/153261/krotala-or-clappers
  12. https://pas.org/wp-content/uploads/2024/02/0410.68-70.pdf
  13. https://www.academia.edu/3391071/_The_sound_of_krotala_maddening_women_krotala_and_percussion_instruments_in_ancient_Attic_pottery_in_D_Yatromanolakis_ed_An_Archaeology_of_Representations_Ancient_Greek_Vase_Painting_and_Contemporary_Methodologies_Athens_A_Kardamitsa_2009_pp_282_297
  14. https://penelope.uchicago.edu/Thayer/L/Roman/Texts/Macrobius/Saturnalia/3*.html#14
  15. https://www.jstor.org/stable/26364285
  16. https://www.poetryintranslation.com/PITBR/Latin/Metamorph4.php
  17. https://topostext.org/work/367
  18. https://www.britishmuseum.org/collection/object/Y_EA26260
  19. https://www.britishmuseum.org/collection/object/Y_EA54014
  20. https://digitalcommons.aaru.edu.jo/cgi/viewcontent.cgi?article=1017&context=jguaa
  21. https://collections.louvre.fr/en/ark:/53355/cl010075533
  22. https://soundiron.com/products/ancient-greek-percussion
  23. https://www.worldhistory.org/image/707/ancient-greek-clapper/
  24. https://discovery.ucl.ac.uk/id/eprint/1317908/1/299235_Vol1.pdf
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