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 PYTHON PROGRAMMING

3 BOOKS IN 1: ULTIMATE BEGINNER’S, INTERMEDIATE &

ADVANCED GUIDE TO LEARN PYTHON STEP BY STEP
RYAN TURNER
 C O NT E NT S

Python Programming: The Ultimate Beginner’s Guide to Learn Python Step by Step
Introduction
1. What is Python Machine Learning?
2. How to Start Learning Python
3. Review of Data Samples and Visualization of Data
4. How to Create a Dataset with Visualization
5. Making Predictions with Algorithms
6. Examples of Coding
7. Decision Tree
8. Neural Networks
9. Bringing it All Together
Conclusion
Python Programming: The Ultimate Intermediate Guide to Learn Python Step by Step
Introduction
1. What Is Machine Learning
2. Supervised Machine Learning
3. Unsupervised Machine Learning
4. The Basics of Working with Python
5. Setting up Your Python Environment
6. Data Preprocessing with Machine Learning
7. Working with Linear Regression in Machine Learning
8. Using a Decision Tree for Regression
9. Random Forest for Regression
10. Working with a Support Vector Regression
11. What is Naive Bayes and How Does It Work with Machine Learning
12. K-Nearest Neighbors Algorithm for Classification
Conclusion
Python Programming: The Ultimate Expert Guide to Learn Python Step-by-Step
Introduction
1. Working with Inheritances in Python
2. Arguments in Python
3. Namespace and Python
4. Working with Iterators in Python and What These Mean
5. Exception Handling and How to Create a Unique Code with Them
6. The Python Generators
7. What are Itertools in the Python Language
8. What are Closures in Python and Why are they so Important
9. Working with Regular Expressions
10. What are the Conditional Statements and When Will I Need to Use Them?
11. Do I Need to Learn Assert Handling in This Language
12. How to Work with Loops in Your Python Code
13. When to Use User-Defined Functions in Your Code
14. Working with Memoization in Python
Conclusion
Copyright 2018 by James C. Anderson - All rights reserved.
The following eBook is reproduced below with the goal of providing information that is as
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fact that both the publisher and the author of this book are in no way experts on the topics
discussed within and that any recommendations or suggestions that are made herein are for
entertainment purposes only. Professionals should be consulted as needed prior to undertaking
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This declaration is deemed fair and valid by both the American Bar Association and the
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 PYTHON PROGRAMMING: THE
ULTIMATE BEGINNER’S GUIDE TO
LEARN PYTHON STEP BY STEP
 I NT R OD UC T I ON

Congratulations on downloading Python Beginners Guide: Machine

Learning for Newbies, and thank you for doing so.
In this Python Beginner’s Guide, you’re about to learn...

The Most Vital Basics of Python programming. Rapidly get the

dialect and begin applying the ideas to any code that you
compose.
The Useful features of Python for Beginners—including some
ideas you can apply to in real-world situations and even other
programs.
Different mechanics of Python programming: control stream,
factors, records/lexicons, and classes—and why taking in these
center standards are essential to Python achievement
Protest arranged programming, its impact on present-day
scripting languages, and why it makes a difference.

This guide has been composed specifically for Newbies and Beginners.
You will be taken through each step of your very first program, and we
will explain each portion of the script as you test and analyze the data.
Machine learning is defined as a subset of something called artificial
intelligence (AI). The ultimate goal of machine learning is to first
comprehend the structure of the presented data and align that data into
certain models that can then be understood and used by anyone.
Despite the fact that machine learning is a department in the computer
science field, it truly is different from normal data processing methods.
In common computing programs, formulas are groups of individually
programmed orders that are used by computers to determine outcomes and
solve problems. Instead, machine learning formulas allow computers to
focus only on data that is inputted and use proven stat analysis in order to
deliver correct values that fall within a certain probability. What this
means is that computers have the ability to break down simple data
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models which enables it to automate routine decision-making steps based
on the specific data that was inputted.
Any innovation client today has profited from machine learning. Facial
acknowledgment innovation enables internet based life stages to enable
clients to tag and offer photographs of companions. Optical character
acknowledgment (OCR) innovation changes over pictures of content into
portable kind. Proposal motors, controlled by machine learning,
recommend what motion pictures or TV programs to watch next in view of
client inclinations. Self-driving autos that depend on machine learning on
how to explore may soon be accessible to shoppers.
Machine learning is a ceaselessly growing field. Along these lines, there
are a few things to remember as you work with machine learning
philosophies, or break down the effect of machine learning forms.
In this book, we'll look at the normal machine learning strategies for
managed and unsupervised learning, the basic algorithmic methodologies
including the k-closest neighbor calculation, specific decision tree
learning, and deeply impactful techniques. We will also investigate which
programming is most used in machine learning, giving you a portion of
the positive and negative qualities. Moreover, we'll talk about some
important biases that are propagated by machine learning calculations, and
consider what can be done to avoid biases affecting your algorithm
building.
There are plenty of books on this subject on the market. Thanks for
choosing this one! Every effort was made to ensure it’s full of useful
information as possible, please enjoy!
1
 WH AT I S PY T H O N MAC H I NE LE AR NI NG ?

WH AT I S PY T H O N?

P ython is an awesome decision on machine learning for a few

reasons. Most importantly, it's a basic dialect at first glance.
Regardless of whether you're not acquainted with Python, getting
up to speed is snappy in the event that you at any point have utilized some
other dialect with C-like grammar.
Second, Python has an incredible network which results in great
documentation and inviting and extensive answers in StackOverflow
(central!).
Third, coming from the colossal network, there are a lot of valuable
libraries for Python (both as "batteries included" an outsider), which take
care of essentially any issue that you can have (counting machine
learning).
Wait I thought this machine language was slow?
Unfortunately, it is a very valid question that deserves an answer. Indeed,
Python is not at all the fastest language on the planet.
However, here's the caveat: libraries can and do offload the costly
computations to the substantially more performant (yet much harder to
use) C and C++ are prime examples. There's NumPy, which is a library for
numerical calculation. It is composed in C, and it's quick. For all intents
and purposes, each library out there that includes serious estimations
utilizes it—every one of the libraries recorded next utilize it in some
shape. On the off chance that you read NumPy, think quick.
In this way, you can influence your computer scripts to run essentially as
quick as handwriting them out in a lower level dialect. So there's truly
nothing to stress over with regards to speed and agility.
If you want to know which Python libraries you should check out. Try
some of these.
“Scikit-learn”
Do you need something that completely addresses everything from testing
and training models to engineering techniques?
Then scikit-learn is your best solution. This incredible bit of free
programming gives each device important to machine learning and
information mining. It's the true standard library for machine learning in
Python; suggested for the vast majority of the 'old' ML calculations.
This library does both characterization and relapse, supporting essentially
every calculation out there (bolster vector machines, arbitrary timberland,
Bayes, you name it). It allows a simple exchanging of calculations in
which experimentation is a lot simpler. These 'more seasoned' calculations
are shockingly flexible and work extremely well in a considerable amount
of problems and case studies.
In any case, that is not all! Scikit-learn additionally does groupings, plural
dimensionalities, and so on. It's likewise exceedingly quick since it keeps
running on NumPy and SciPy.
Look at a few cases to see everything this library is prepared to do, the
instructional exercises on the website, and the need to figure out if this is a
good fit.
“NLTK”
While not a machine learning library essentially, NLTK is an
unquestionable requirement when working with regular computer
language. It is bundled with a heap of Datasets and other rhetorical data
assets, which is invaluable for preparing certain models. Aside from the
libraries for working with content, this is great for determining capacities,
for example, characterization, tokenization, stemming, labeling, and
parsing—that's just the beginning.
The handiness of having the majority of this stuff perfectly bundled can't
be exaggerated. In case you are keen on regular computer language look at
a few of their website's instructional exercises!
“Theano”
Utilized generally in research and within the scholarly community, Theano
is the granddad of all deeply profound learning systems. Since it is written
in Python, it is firmly incorporated with NumPy. Theano enables you to
make neural systems which are essential scientific articulations with
multi-dimensional clusters. Theano handles this so you that you don't need
to stress over the real usage of the math included.
It bolsters offloading figures to a considerably speedier GPU, which is an
element that everybody underpins today, yet, back when they presented it,
this wasn't the situation. The library is extremely developed now and
boasts an extensive variety of activities, which is extraordinary with
regards to contrasting it and other comparative libraries.
The greatest grievance out there about Theano is the API might be
cumbersome for a few, making the library difficult to use for beginning
learners. In any case, there are tools that relieve the agony and makes
working with Theano pretty straightforward, for example, try using Keras,
or Blocks, and even Lasagne.
“TensorFlow”
The geniuses over at Google made TensorFlow for inside use in machine
learning applications and publicly released it in late 2015. They needed
something that could supplant their more established, non-open source
machine learning structure, DistBelief. It wasn't sufficiently adaptable and
too firmly ingrained into their foundation. It was to be imparted to
different analysts around the globe.
Thus, TensorFlow was made. Despite their slip-ups in the past, many view
this library as a much-needed change over Theano, asserting greater
adaptability and more instinctive API. Another great benefit is it can be
utilized to create new conditions, supporting tremendous amounts of new
GPUs for training and learning purposes. While it doesn't bolster as wide a
scope of functionality like Theano, it has better computational diagram
representations.
TensorFlow is exceptionally famous these days. In fact, if you are familiar
with every single library on this list, you can agree that there has been a
huge influx in the number of new users and bloggers in this library and its
functionality. This is definitely a good thing for beginners.
“Keras”
Keras is a phenomenal library that gives a top-level API to neural systems
and is best for running alongside or on top of Theano or TensorFlow. It
makes bridling full intensity of these intricate bits of programming
substantially simpler than utilizing them all by themselves. The greatest
benefit of this library is its exceptional ease of understanding, putting the
end users’ needs and experiences as its number one priority. This cuts
down on a number of errors.
It is also secluded; which means that individual models like neural layers
and cost capacities can be grouped together with little to no limitations.
This additionally makes the library simple to include new models and
interface them with the current ones.
A few people have called Keras great that it is similar to cheating on your
exam. In case you're beginning with higher learning in this area, take the
illustrations and examples and discover what you can do with it. Try
exploring.
Furthermore, by chance that you need to START learning, it is
recommended that you begin with their instructional exercises and see
where you can go from that point.
Two comparative choices are Lasagne and Blocks; however, they just keep
running on Theano. If you attempted Keras and have difficulty, perhaps,
experiment with one of these contrasting options to check whether they
work out for you.
“PyTorch”
If you are looking for a popular deep learning library, then look no further
than Torch, which is written in the language called Lua. Facebook recently
open-sourced a Python model of Torch and named it PyTorch, which
allows you to easily use the exact same libraries that Torch uses, but from
Python, instead of the original language, Lua.
PyTorch is significantly easier for debugging because of one major
difference between Theano, TensorFlow, and PyTorch. The older versions
use allegorical computation while the newer does not. Allegorical
computation is simply a way of saying that coding an operation, for
example, ‘a + b’, will not be computed when that line is read. Before it is
executed it must be translated into what is called CUDA or C. This makes
the debugging much harder to execute in Theano/TensorFlow since this
error is more difficult to pinpoint with a specific line of code. It’s
basically harder to trace back to the source. Debugging is not one of this
library’s strongest features.
This is extremely beginner-friendly; as your learning increases, try some
of their more advanced tutorials and examples.

H I ST O R Y O F PY T H O N
Python was invented in the later years of the 1980s. Guido van Rossum,
the founder, started using the language in December 1989. He is Python's
only known creator and his integral role in the growth and development of
the language has earned him the nickname "Benevolent Dictator for Life".
It was created to be the successor to the language known as ABC.
Van Rossum said one the reasons he created Python back in 1996:
““...In December 1989, I was looking for a "hobby" programming project
that would keep me occupied during the week around Christmas. My office
... would be closed, but I had a home computer and not much else on my
hands. I decided to write an interpreter for the new scripting language I
had been thinking about lately: a descendant of ABC that would appeal to
Unix/C hackers. I chose Python as a working title for the project, being in
a slightly irreverent mood (and a big fan of Monty Python's Flying
Circus).”
The next version that was released was Python 2.0, in October of the year
2000 and had significant upgrades and new highlights, including a cycle-
distinguishing junk jockey and back up support for Unicode. It was most
fortunate, that this particular version, made vast improvement procedures
to the language turned out to be more straightforward and network
sponsored.
Python 3.0, which initially started its existence as Py3K. Funny right? This
version was rolled out in December of 2008 after a rigorous testing period.
This particular version of Python was hard to roll back to previous
compatible versions which are the most unfortunate. Yet, a significant
number of its real highlights have been rolled back to versions 2.6 or 2.7
(Python), and rollouts of Python 3 which utilizes the two to three utilities,
that helps to automate the interpretation of the Python script.
Python 2.7's expiry date was originally supposed to be back in 2015, but
for unidentifiable reasons, it was put off until the year 2020. It was known
that there was a major concern about data being unable to roll back but roll
FORWARD into the new version, Python 3. In 2017, Google declared that
there would be work done on Python 2.7 to enhance execution under
simultaneously running tasks.

B ASI C F E AT U R E S O F PY T H O N
Python is an unmistakable and extremely robust programming language
that is object-oriented based almost identical to Ruby, Perl, and Java,
A portion of Python's remarkable highlights:
Python uses a rich structure, influencing, and composing projects that can
be analyzed simpler.
It is a simple to utilize dialect that makes it easy to get your program
working. This makes Python perfect for model improvement and other
specially appointed programming assignments, without trading off
viability.
It accompanies a huge standard library that backs tons of simple
programming commands, for example, extremely seamless web server
connections, processing and handling files, and the ability to search
through text with commonly used expressions and commands.
Python's easy to use interactive interface makes it simple to test shorter
pieces of coding. It also comes with IDLE which is a "development
environment".
Python effortlessly extended out by including new modules executed in a
source code like C or C++.
Python can also be inserted into another application to give an easily
programmed interface.
Python will run anyplace, including OS X, Windows Environment, Linux,
and even Unix, with informal models for the Android and iOS
environments.
Python can easily be recorded, modified and re-downloaded and
distributed, be unreservedly adjusted and re-disseminated. While it is
copyrighted, it's accessible under open source.
Ultimately, Python is a free software.
Common Programming Language Features of Python
A huge array of common data types: floating point numbers, complex
numbers, infinite length integers, ASCII strings, and Unicode, as well as a
large variety of dictionaries and lists.
Python is guided in an object-oriented framework, with multiple classes
and inheritance.
Python code can be bundled together into different modules and packages.
Python is notorious for being a much cleaner language for error handling
due to the catching and raising of exceptions allowed.
Information is firmly and progressively composed. Blending incongruent
data types, for example, adding a string and a number together, raises an
exception right away where errors are caught significantly sooner than
later.
Python has advanced coding highlights such as comprehending lists and
iterators.
Python's programmed memory administration liberates you from having
to physically remove unused or unwanted code.
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Exploring the Variety of Random
Documents with Different Content
The long trumpet is the Chinese La-pa, with a sliding tube on the
trombone principle. It gives four notes, the octave, twelfth, super-
octave, and seventeenth, but not the prime. As may be imagined, it is
a military instrument, but Mr. Van Aalst informs us it is a privilege of
itinerant knife-grinders to blow it in the streets to announce their
whereabouts. A La-pa, with the bell bent back, is used at wedding
processions.
The instruments drawn in this Plate belong to the Music Class Room
of Edinburgh University.
 PLATE XLVI.

JAPANESE KOTO.

HIS is the thirteen-stringed Sono Koto of Japan, and a very

beautifully-ornamented specimen, lent for drawing by Mr.
George Wood, of Messrs. Cramer and Co., Regent Street,
London.
The strings of the koto are, as in all Japanese stringed instruments, of
silk drawn through wax, and the accordance follows the pentatonic
system already described in connection with the Siamisen, and as
given by Mr. Isawa, Director of the Institute of Music at Tokio, in
twelve different popular pentatonic accordances, which are the
foundations for, but, as will be explained, do not exactly fix the
intervals of the koto player's performances. The strings are equally
long and thick, and are strained to one tension, the notes being
obtained by means of movable bridges, of which there are as many as
there are strings. Two strings, the first and third, are tuned alike, at
the interval of a fifth above the second or lowest note. The tuning is
generally done by ear note by note, the player pitching the instrument
to his voice, which is good if a high voice. The classical Japanese
music is Chinese, and may have come to Japan with Chinese art,
through the Corea. It is, however, only played in the Imperial
household or the Shinto temples. Both classical and popular music are
pentatonic, but the Japanese in no way avoid semitones, which give
the Chinese so much trouble when they endeavour to produce them.
The koto player, in performing, squats very low upon the ground, and
wears plectra-like wire thimbles on the right hand, terminating in
small projections of ivory, touching with them only the shorter division
of the strings. He has, however, the power, by pressing down the
longer unsounded lengths with the ends of the fingers of the left
hand, or pulling them towards the bridges, to increase and decrease
the tension of the strings, and thus sharpen or flatten the notes and
modify the tuning by intermediate tones—a licence not used
unsparingly. The Japanese pictures of koto players invariably show
this practice. The dimensions of this Koto are, approximately: length,
6 feet 2½ inches; width, 8¾ to 9¾ inches; depth, about 1¾ inches
at the sides. The instrument is made of strong Kiri wood, and has two
openings on the under side. The beauty of the ornament of the
instrument drawn could hardly be surpassed. The drawing shows
enlargements of the two ends, one half the actual size, and displays
the highly decorative adornment of this remarkable instrument.
The favourite popular tuning of the Koto is called Hira-dioshi. It is
thus given by Mr. Isawa and other authorities:—

The music-master at the Japanese Village, Knightsbridge, London,

tuned the Koto to a Siamisen (Plate XLVII.), with the pentatonic
intervals marked on the neck according to a peculiarity of intonation
referred to in the description of that instrument.
 PLATE XLVII.

SIAMISEN, KOKIU, BIWA.

HESE are Japanese instruments. The Siamisen and Biwa

were drawn by permission of the Japanese Commission of
the Inventions Exhibition, 1885. The Kokiu in the centre of
the plate, and its long fishing-rod bow in four lengths of
black wood mounted with silver, belong to the writer.
The Siamisen is the commonest Japanese stringed instrument, and is
played by the singing girls (Gesha); it has been the characteristic
musical instrument at the Japanese Village, Knightsbridge, London.
The name was there pronounced Samiseng (the a as in father), and
Dr. Müller, in an elaborate article on Japanese musical instruments in
the Mittheilungen der Deutschen Gesellschaft für Natur und
Völkerkunde Ostasien's, 6tes Heft. (Berlin, 1884), invariably writes
Samiseng, but the spelling Siamisen is here adopted on the authority
of Mr. Shuji Isawa, the Director of the School of Music, Tokio. In
length it is about 37 inches, and has a resonance membrane of
parchment stretched upon a nearly square wooden body that is 7½
inches high, 6½ wide, and 3 deep. There is a knob on the under side
for a string holder, and the upper and under sides of it are covered
with a selected part of a cat's skin, on which the bridge also rests. By
the little black spots on this skin the value of the instrument is
determined. Four give the highest value; two mark ordinary
instruments; while those without spots are cheap. The size of the
Siamisen is determined by the singer's voice. Good voices are high
voices; consequently a good singer requires a smaller one. For
convenience in moving about, the body and neck are made to
separate. It has three silk strings and in common practice as many

accordances, viz. ,

and

. It is without frets, but the

fingered scale which the Japanese musicians at the London "village"
appeared to know only, was indicated by small marks upon the neck,
and agreed with the tuning of the thirteen-stringed koto. It has thus
five intervals in the octave, that differ, however, from the Chinese
pentatonic scale, and from that known in Java as Salendro. The
Japanese, as heard at the "village," may be described, when
descending, as a major third, a semitone, a neuter or mean third
(neither major nor minor, but equivalent to a three-quarter tone and a

whole tone), thus —the × denoting

the mean third. This was accepted as right by natives of various parts
of Japan brought together in the village whose speech dialects were
not the same, although their musical dialect was thus uniform.
However, since Mr. Isawa gives the interval as a minor third, and in
performances which I have heard the minor effect certainly
predominates, I am disposed to accept the mean third here recorded
as only a widening of the normal minor third. Great latitude has to be
allowed in dealing with scales, especially those of non-harmonic
origin. Our own equal temperament narrowing of the same interval is
rarely noticed by us, and passes as a matter of course. The Siamisen
is employed to accompany the dancing and singing women, and its
tones are an important aid to the effect of their performance.
The plectrum of the Siamisen is called in Japanese Batsi. It is shown
in the plate.
The Kokiu is a kind of fiddle, in its construction very like the Siamisen,
only that it is played with a bow (kiu) instead of a plectrum or striker
(batsi). It is usually a woman's instrument, but is now very little
played. Dr. Müller only heard one player in Tokio, a blind man, from
whom he took his description of the instrument and the manner of
performance. The whole length of the Kokiu is about 25 inches, the
body being 5 inches long and broad. It is 2½ inches deep and
covered like the Siamisen. Instead of the string-holder of the latter it
has a 2½ inch long round metal slip to which the strings are knotted.
The bridge is long and very low, with notches to receive the strings;
three being equally spaced, while the fourth is very near the third.

The strings are tuned , the two

near each other being unisons of the highest note. The bow is 45
inches long, of four lengths as already mentioned. It takes to pieces
for transport. It is flat behind and oval in front. It is bent at the top
nearly to a right angle, and the whole rod is very elastic. It is strung
with white horsehair about 32 inches long, the horsehair being
imported, as there is no long horsehair in Japan. It is fastened with a
silken knot into a silver holder. In order to play the Kokiu the bow is
taken with the thumb, middle, and little fingers, the index finger being
extended along the back. With stretched-out fourth finger the player
strains the slack hair of the bow, then takes up the instrument,
vertically resting it upon the knees, between which the metal string-
holder is grasped. Bringing the hair of the bow to the edge of the
resonance body, the bow is simply moved horizontally backwards and
forwards, the middle part of the bowstring only being employed. The
strings are brought into contact with the bow by a rotary movement
of the instrument. Sometimes only one E flat string is used,
sometimes both. Double notes are very rarely used. The sound of the
Kokiu is very like that of the Hurdy-Gurdy, but much weaker in
comparison.
The Biwa is a lute-like instrument in the shape of a divided pear,
becoming narrower upwards. The body is about 34 inches long, of
which 7½ come on to the finger-board. There are four frets on the
finger-board. It has four strings in two thicknesses tuned, according
to Dr. Müller, prime, quint, octave, tenth, like an infantry bugle, but
Dr. Isawa gives no less than six accordances. The Biwa is played with
a bill-formed batsi 6½ inches long, made of horn, wood, tortoiseshell,
or ivory.
 PLATE XLVIII.

MARIMBA, OF SOUTH AFRICA.

ZULU harmonicon in two views, the back and front. There

are ten bars, each with a gourd resonator attached to it. It
is played with drumsticks, one in each hand. This Marimba
was presented to me by Mr. John Robertson, of Durban,
Natal, and he has furnished the following details respecting it.
The Zulu name, Marimba, is varied by Izambilo; the former is the
better known. This instrument is made by the Mindonga tribe, whose
country marches with the Portuguese settlement of Inhambane on
the East Coast. The wood of the bars is called Intzari. The resonators
are the shell of a fruit known as Strychnos M'Kenii, or the Kafir
orange. The balls of the drumsticks are of native rubber. The Marimba
is played either resting upon the ground or suspended from the
performer's neck by a cord. Native gum is employed to bind the larger
and smaller shells forming each resonator. The cord used is the
intestine of the aulacodus, or cane rat. As I have remarked in
describing the Siamese instruments, harmonicons of wood and metal
are very widely spread—throughout the Indian archipelago, in Siam
and Burma, among the hill tribes of India and the Kafirs of Africa. The
natives of the little American Republic of Costa Rica regard the
Marimba as their national musical instrument. The tuning follows the
equal heptatonic division, which allows of the mean or neuter thirds,
ruling in Siam, and appreciated by many Eastern ears. In Java,
however, it is not so; and, as far as could be judged, by examining
the instruments played on by the native Javese at the London
Aquarium in 1882 (other instruments apparently gave different
results), there are two distinct Javese tunings,—the one, called
Salendro, an ideally equal pentatonic, or five interval scale in the
octave, the other, called Pelog, a heptatonic, or seven interval scale in
the octave, the law of which has not been determined. From the latter
are selected sets of five notes to form pentatonic scales, presenting
remarkable differences.
 INDEX
Introduction. Plate.
Afranio, Inventor xxxix.
Alard, Delphin, Violinist xiv. xxviii.
"Alard" Stradivarius Violin x. xxvi.
Al Fārābi, on Arab Music xv.
Anna Ghárpure (Mahrátti), on the Sitár xl.
Archlute xvi. xxi.

iv. xix. xxx.

Bach, J.S.
xxxii.
Bach, C.P.E. xxxii.
Bagpipe, Calabrian xv. iv.
Bagpipe, Highland xvi.
Bagpipe, Irish xv. v.
Bagpipe, Lowland xv. v.
Bagpipe, Northumbrian, ancient xv. v.
Bagpipe, Northumbrian, modern xv. v.
Bagpipe, Bellows v.
Bagpipe, Scale xv. v.
Bainbridge, W. (flageolet-maker) xxxviii.
Balaläika, Russian xxiv.
Balaläika, Russian, tuning xxiv.
Balloon Guitar, Chinese xlii.
Bandurria, tuning xxiii.
Baron, G., on Lutes xvi.
Barbu, hurdy-gurdy player xxx.
Barrington, Hon. Daines, on the Welsh
xxiv.
Crwth
Basse de Viole xix.
Basset Horn xli.
Bassoon xvi. xxxix.
Baton, improved the hurdy-gurdy xxx.
Batsi, Japanese plectrum xlvii.
Beating Reed xviii. xii.
Bebung (Clavichord) xxxii.
Been (Vína Sitár) xl.
Bell, C.D. (F.S.A. Scot.), on Gaelic Harps ii.
Bell Harp xxx.
Bell Harp, scale xxx.
Berlioz, H., on the Viola d'Amore xxvii.
Bible Regal xviii. xiii.
Biblioteca Estense, Modena xiv.
Bingley, on the Welsh Crwth xxiv.
Biwa, Japanese xix. xlvii.
Biwa, Japanese, tuning xlvii.
Boddington, H. (Dulcimer) xvii.
Boehm, T., improved the flute xvi.
Bombardone xxxix.
Bourdon, Musette iv. v.
Bourdon, Organ xi.
Broadwood, John, harpsichord and
xxiii. xxxiii.
pianoforte maker
Buccina, Roman xiv. xxxvii.
Bugle, Cavalry xiv. xxxvi.
Bull, W., trumpet-maker xxxvi.
Burgmote Horns xiii. i.
Burney, Dr., Musical Researches in
xxxiii.
Germany

Celtic Harps xx. ii. iii.

Cenemella, Italian rustic reed pipe xiv.
Cetera, Italian x. ix. xiv. xxvii.
Cetera, tuning xiv.
Chalumeau, Musette iv.
Chanot, George, violin-maker xxiv.
Chanterelle, melody string xv. xvi.
Chappell (Double Spinet) xx.
Ch'in (Scholar's Lute), Chinese xix.
Chinese Instruments xix. xliv. xlv.
Chitarrone xi. xxi.
Chiterna xxiii.
Chopin, F. xxxiii.
Chouquet, G., musicologist xxxi.
Chromatic Key-board xvii. xi.
Chromatic Scale xvii.
Cimbalon, Hungarian Dulcimer xvii.
Cistre, French ix. xiv. xxviii.
Cither, English x. ix. xiv. xxviii.
Clarinet, Alto xxxix.
Clarsach, Gaelic Harp xx. ii. iii.
Clavichord xxii. xxiii. xxxii.
Clavicembalo (Italian), Clavicimbalum
xxii. vi.
(Latin)
Clavecin (French) xxxiii.
Clavicytherium, Upright Spinet xxii. vi.
Cohen, Rev. Francis (Jewish music) xiii.
Cornamusa, Cornemuse xv. iv.
Cornet xxxvii.
Corno di Bassetto xxxix.
Corporation Canterbury xiii. i.
Corporation Dover xiii. i.
Correr, Count (of Venice), Collection of
vi.
Musical Instruments
Cousineau, improved the harp xxxii.
Crocodile, Siamese xix. xliii.
Crompton, G. ("Hellier" Stradivarius
xxv.
Violin)
Cruit, Crot, Gaelic xx. xxiv.
Crwth, Welsh xx. xxiv.
Crwth, tunings xxiv.
Cymbalum Decachordum ix.

Dale, H.J. (Spinet) xxii.

Day, C.R. (43rd Light Infantry), on Indian
xlii. xliii.
Music
Dennys, N.B. (Member Northern Asiatic
Society), on Chinese Musical Instruments xliv.
Divided Spinet Keys xxii.
Dolciano xvi. xli.
Donaldson, G. (Clavicytherium, Rizzio vi. x. xiv. xvi.
Guitar, Cetera, Theorbo, Double Spinet, xx. xxi. xxiii.
Chitarrone, Quinterna, Mandolines) xxxiv.
Drones, Drone Bass xv. iv. v. xli.
Drums, Hindu ix. xli.
Dulcimer xxi. xvii.
Dulcimer, scale xvii.
Dumon, flute-player xxxviii.

Ellis, A.J., (F.R.S., F.S.A.), on Musical

Scales of Various Nations, etc. xvi. v. xl. xliv.
Empress Maria Theresa's Harpsichord xxiii. xxxiii.
xv. xxiii. xxx.
Engel, C., musicologist ix. xix.
xxiv.
Erard, S., improved the harp xxxiv.
Erh-hsien, Chinese xliv.
Esrar, Hindu xl.
Evans, R., Welsh crwth-maker xxiv.
 iii. viii. xv.
Evelyn's Diary
xvi. xxiii.

Fagotto xxxix.
Fanfare, Jubilee xxxv.
Fantasia Cromatica xxxii.
Ferrari, Miss (Bible Regal) xiii.
Flageolet, Double xxxviii.
Fleischer, O., on the Lute xv.
Flûte à bec xxxviii.
Flûte Douce xxxviii.
Flute, German xxiii. xxxviii.
Frederick the Great xxxviii.
Free Reed xviii. xxxiii.

Gaelic Harps ii. iii.

Gand, E., violin-maker xxviii.
Garrett, wind-instrument maker xxxix.
Gaultier, Denis, lute-player xv.
Giterna xxiii.
iv. v. xxxviii.
Glen, J. and R., bagpipe-makers
xxxix.
Glen, R. (F.S.A. Scot.) xxiii.
Gourd Resonators xx. xxxviii.
Gresley, Rev. Nigel (Queen Elizabeth's
viii.
Virginal)
Grove, Sir George (Dictionary of Music xviii. xix. xx.
xviii.
and Musicians) xxvii.
Guarnerius del Gesù xii. xxvi.
Guitar, David Rizzio's x. x.
Guitar, Stradivarius x. xxix.
Gunn, J., Highland Harps ii. iii.

Haas, J.W., trumpet-maker xxxvii.

Hackbrett xvii.
Handel xxxiii.
Harmonicons x. xlv.
Harp, Assyrian xix.
Harp, Egyptian xix.
Harp, Irish (Brian Boru) ii. iii.
Harp, Lamont xx. iii.
Harp, Pedal xxxiv.
Harp, Queen Mary's xx. ii.
Harper, T., trumpeter xxxv. xxxvi.
Harpsichord xxiii. xxxiii.
Harpsichord, stops xxxiii.
Harp-way tuning xix. xxvii.
Harris, J., trumpet-maker xxxiii.
Hart, George, History of the Violin xxv.
Haydn xv.
"Hellier" Stradivarius Violin xxv.
Heptatonic Scale xxi. xlii. xlviii.
Hiji-riki, Japanese xlv.
Hiji-riki, Japanese, scale xlv.
Hill and Sons, Violin-makers xx. xxv. xxix.
Hill, Arthur and Alfred, Collection of
xxv.
Musical Instruments
Hindustâni or Northern Indian music xl.
Hipkins, A.J. (F.S.A.) (Lute, Balaläika, xv. xxiv. xlvii.
Kokiu, Marimba) xlviii.
xii. xix.
Historic Concerts (1885)
xxxviii.
Historic Rooms (Music Loan Collection,
viii. xxxiv.
1885)
Hochbrucker, improved the harp xxxiv.
Horns, Bronze and Ivory xiii. i. vii.
Hu-ch'in, Chinese xliv.
Huggins, Dr. W. (F.R.S.), on Violins xxvi.
Huggins, Mrs., Stradivarius violins xxv.
Hurdy-Gurdy xv. xxx.
Hurdy-Gurdy, scale and tunings xxx.
Huygens, Constantin, lute and theorbo
xv.
player

India in London (1886) xl.

Indian Instruments ix. xl. xli.
Inventions Exhibition (1885) xviii. xii. xiv.
Irish scale and modes ii.
Isawa, S., on Japanese Music xlvi. xlvii.
Izambilo, Zulu xlviii.

Jack (Harpsichord and Spinet) vi.

Jacobs, E., viol da gamba player xix.
Japanese Commission, Inventions
xxiii.
Exhibition
Japanese Instruments xviii. xix. xiv. xlvi. xlvii.
Japanese Village (1885-7) xlvi. xlvii.
Javese Gambang (1882) xlviii.
Javese Salendro and Pelog xlviii.
Jewitt, Llewellyn (F.S.A.), on Ancient
i.
Horns
Joachim, Dr. Joseph, on Stradivarius xxvi.
Joseph, E. (Chitarrone and Pedal Harp) xxi. xxxiv.

Karnâtik or Southern Indian Music xl.

Keene, S., spinet-maker xxii. xxii.
Kettledrum, State ix. xxxv.
Khong Yai, Siamese x. xliii.
Kit xxxi.
Khuruj (Hindu keynote) xl.
"King Joseph" Guarnerius Violin xxvi.
Kinnor, Hebrew xix.
Kirkman, Jacob, harpsichord-maker xxxiii.
Kirsnick, put free reeds in organs xviii. xlii.
Klui, Siamese xlii.
Kokiu, Japanese xix. xlvii.
Kokiu, Japanese, tuning xlvii.
Koto, Japanese viii. xviii. xlvi.
xix.
Koto, Japanese, tuning xlvi.
Kratzenstein, Professor, inventor of free
xlii.
reed stops in organs
Kraus figlio, A., musicologist xxxvii.
Krebar, G., theorbo-maker xvi.

Land, J.P.N., on Arab Music and

xvi. xv.
Correspondence of Huygens
La-pa, Chinese xlv.
Laurie, David (Guarnerius del Gesù and
xxvi.
Stradivarius Violins)
Lavoix fils, Henri, on Music of the Early
v.
Renaissance
Lazarus, H., clarinet-player xxxix.
Lehmann, R. (Chitarrone) xvi.
Lituus, Roman xiv. xxxvii.
Liuto Attiorbato, Theorboed Lute xvi.
Lotz, improved the basset horn xxxix.
Louvet, hurdy-gurdy maker xxx.
Love Viol (Viola d'Amore) xxvii.
Lute xi. xxii. xv.
Lute, tuning xv.
Lute, Queen Elizabeth's xi. ix.
Lyra Viol xxvii.
Lyre, Greek xix.

Mace, Thomas, on Lutes xv.

Mahati Vína, Hindu xl.
Máhdyamâ (melody string), Hindu xl.
Mahillon, Victor, musicologist and writer xii. xix. xxxiii.
on acoustics xxxvii. xl. xlv.
Malcolmson, A.W. (Trumpet) xxxvi.
Mandoline, Milanese xi. xxiii. xxx.
Mandoline, Neapolitan xi. xxiii.
Mandoline, tunings xxiii.
Marimba, Zulu x. xlviii.
Maskell, A. (Music Loan Collection) xxxiv.
Mattheson, on the Viola d'Amore xxvii.
Mean or Neuter Thirds xv. v.
Mee, Rev. J.H., on Abbé Vogler xviii. xliv.
Mercator, medal of Sir Michael,
xviii.
instrument-maker to Henry VIII.
Mersenne (A.D. 1636), on Musical
xv. xvi. xx.
Instruments
Moon Guitar, Chinese xlv.
Mozart xxiii. xxxix.
M'ridang, Hindu ix. xli.
Mueller, Ivan, improved the basset horn xxxix.
Mueller, Dr., on Japanese Musical
xlvii.
Instruments
Musette xv. iv.
Museum, Brussels Conservatoire xi. xii. xiii.
xviii. xix.
xxxvii. xl.
Museum, Paris Conservatoire xx. xxx.
Museum, South Kensington viii. xx.
Music Class Room, Edinburgh xxvii. xxxi.
xli. xliv. xlv.
Music Loan Collection, South Kensington
xxiv. xxviii.
(1872)
Music Loan Collection, Royal Albert Hall
xxiii.
(1885)

Nagara, Indian xli.

Nahabat, Indian xli.
Nakkera Khaneh, Indian xli.
Narès Varariddhi, H.R.H. Prince xxiii. xlii. xliii.
Nautch Girls, Indian xli.
Nefer, Egyptian viii.
Nimfali (Portable Organ) xiii.
North, C. M'Intyre, on Highland Musical
iii. iv. v. vii.
Instruments
North, Roger, treble viol and viol da
xix.
gamba player

Oakeley, Professor Sir Herbert, Mus. Doc.

xxvii.
(Viola d'Amore, etc.)
Oboe xiv. xvi. xxxix.
Oboe d'Amore xxxix.
Oboe da Caccia xxxix.
O'Curry, Eugene, on Irish Musical
ii.
Instruments
Oldham, C. (Stradivarius Violins) xxv.
Oliphant xiv. vii.
Organ, Portable xvi. xvii. xiii.
Organ, Positive xvi. xvii. xi.
Orpheoreon xi. ix.

Pagden, Mrs. F. (Bible Regal) xiii.

Pagnerre, L., on Barbu, hurdy-gurdy
xxx.
player
Pandore xi. ix.
Pauer, Professor, suggested re-
xix.
introduction of viol d'amore
 xix. xxvi.
Payne, E.J., on Violins
xxvii.
Pedal Harp xxxiv.
Pee, Siamese xlii.
Peking Band (1884) xliv. xiv.
Penorcon xi. ix.
xliv. xlvi.
Pentatonic Scales xix.
xlvii. xlviii.
Pepys's Diary xviii. xxxviii.
Phān, Siamese xviii.
Pi-p'a, Phi-pe, Chinese xix. xliv.
Pi-p'a, tuning xliv.
Playford, John, on Viol d'Amore xxvii.
Pochette xxxi.
Pommer, precursor of bassoon xxxix.
Portable Organ or Portative xvi. xvii. xiii.
Positive Organ xvi. xvii. xi.
Praetorius (A.D. 1619), on Musical xvii. ix. xi. xii. xiv.
Instruments xx. xxvii.
Psaltery xxi. xvii.
Pua, Spanish plectrum xxiii.
Purcell, Henry xxii.
Pyne, J. Kendrick (Dulcimer) xvii.

Qanūn xxi. xvii.

Queen Victoria xiv. xxiii. xxxv.
Queen Elizabeth's Lute xi. ix.
Queen Elizabeth's Virginal xxii. viii.
Queen Mary's Harp xx. ii.
Quinterna xxiii.

Râga, Hindu xl.

Rám Pál Singh, H.H. the Rájah xl.
Ranat Ek, Siamese x. xliii.
Recorders xxxviii.
Regal xviii. xii. xiii.
Reissmann, Dr. A., on Musical
xx.
Instruments
Riaño, J.F., on Early Spanish Music xvii.
Rizzio, David x. x.
Robertson, John (Marimba) xlviii.
Rose, John, maker of Queen Elizabeth's
ix.
Lute
Roses, rosettes in sound-boards xiv.
Rotta, Rote, Mediæval xx. xxiv.
Rowbotham, J.F., Musical History ix. xli.
Royal College of Music xl.
Ruckers, harpsichord-makers viii. xxii. xviii. xx.

St. Cecilia Paintings xvii. xi.

Sand, George, Les Maîtres Sonneurs iv.
Sandbach, W., trumpet-maker xxxviii.
Santir, Persian xvii.
San-hsien, Chinese xliv.
San-hsien, tuning xliv.
Saw Duang, Siamese xlii.
Saw Oo, Siamese xlii.
Saw Tai, Siamese xlii.
Saxe, C., cornet-maker xxxvii.
Scarlatti, D., composer and harpsichord-
xxxiii.
player
Scheltzer, S., improved the bassoon xxxix.
Sê, Chinese xviii.
Shaw, W., trumpet-maker xxxv.
Shawm, Schalmey, precursor of oboe xxxix.
Shêng, Chinese xviii. xliv.
Shêng, Chinese, scale xliv.
Shepherd's pipe xiv.
Sho, Japanese xvi.
Shophar, Jewish xii. xiii. i.
Shophar, flourishes xii.
Short Octave in organs and spinets vi. viii. xxii.
Shudi, B. (Tschudi), harpsichord-maker xxiii. xxxiii.
Siam, H.M. the King of xviii.
Siamese Instruments viii. xlii. xliii.
Siamese Scale xv.
Siamisen, Japanese xix. xlvii.
Siamisen, Japanese, tunings xlvii.
Sien-tzê, Chinese xliv.
Silbermann, G., pianoforte-maker xxxiii.
Sitár, Hindu xxi. xl.
Sitár, Hindu, tunings xl.
Sitár, Hindu, modes xl.
Skelton, John, Poet Laureate and author
xxxii.
of a poem on the "Claricorde"
So-na, Chinese xlv.
So-na, Chinese, scale xlv.
Sono Koto, Japanese xlv.
Sordini xxxi.
Spanish Dances xxix.
Spencer, Earl (Oliphant) xiv. vii.
Spinet xii. xxii. viii. xx. xvii.
Spinet, Double xxii. xx.
Spinet, Upright xxii. vi.
Spinetta Traversa, Spinetti xviii. xxii.
S'ruti, Hindu xx.
Stainer, Dr., on Hebrew Musical
xix.
Instruments
Steuart, C. Durrant (Highland Harps) ii. iii.
Stone, Dr. W.H., on Wind Instruments xxxix.
Stradivarius x. xxv. xxvi.
xxviii. xxix.
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