口琴 - 美国大都会艺术博物馆展品查阅

品名（中）	口琴
品名（英）	Harmoniphon
入馆年号	1889年，89.4.1192
策展部门	乐器（Musical Instruments）
创作者	Paris, Lecrosnier & Tremblai【1820 至 1870】【法国人】
创作年份	公元 1836 - 公元 1900
创作地区	法国, 第戎？（France, Dijon?）
分类	无气动电话簧片口琴（Aerophone-Free Reed-harmonium）
尺寸	宽 42.5 厘米, 长 perpendicular to keyboard 22.9, 深 approx. 4.5
介绍（中）	harmonophon是一种免费的簧片乐器，1836年由巴黎Lecrosnier&；Dijion的颤音，用来代替英国号角。演奏者会向一根提供空气的管子吹气，使簧片发声，同时使用键盘指挥实际的音高。它被认为是旋律的前身技术说明：粗糙的胡桃木和软木框架，由一个带固定平衡轨的关键帧和两排用绿色布垫着的前销（用于自然和意外）组成，后部是一个浅梯形金属槽，左端有一个喷嘴；压在水槽上方，一块涂有红色油漆的芦苇板，自由芦苇固定在水槽下方（水槽内部）；钢制（？）簧片拧到黄铜簧片支架上，支架上印有间距字母，簧片板也是如此，一些簧片和支架是可替换的；在簧片板上方，小矩形皮革阀安装在键尾下方，在簧片上方停止音符，并在按下键时提起；32个音符的键盘，带有自然骨、染色的凹凸、指南针c1-g3，键尾由安装在键杆之间的杆上的金属弹簧固定；玩家肺部通过连接在喷嘴上的橡胶管（缺失）吹出的簧片；低音和高音端的键杆朝着平衡销和弹簧柱之间的中心急剧倾斜（Laurence Libin，1977年10月4日）。
介绍（英）	The harmoniphon was a free reed instrument patented in 1836 by Paris, Lecrosnier & Tremblai of Dijion and was intended as a substitute for the English horn. A player would blow into a tube that provided air to sound the reeds, while using the keyboard to direct the actual pitches. It is considered a predecessor of the melodica. Technical description: rough walnut and softwood frame consisting of a keyframe with pinned balance rail and two rows of front pins (for naturals and accidentals) padded with green cloth, and at the rear a shallow trapezoidal metal trough with a nozzle at the left end; pressed down above the trough, a red-painted reed board with free reeds fastened to the under side (inside the trough); steel (?) reeds screwed to brass reed holders, the holders stamped with pitch letters as is the reed board, some reeds and holders being replacements; above the reed board, small rectangular leathered valves mounted below tails of keys, stopping notes above reeds and lifting when the keys are depressed; 32-note keyboard with bone naturals, stained accidentals, compass c1-g3, the key tails held down by wire springs mounted on posts between the key levers; the reeds blown by the player's lungs through a rubber tube (missing) attached to the nozzle; the key levers at bass and treble ends angled sharply toward the center between the balance pins and spring posts (Laurence Libin 4 Oct. 77).