Today's music history lesson is from a discussion between Captain Khaavren and Lady Daro about the instruments in an Dragaeran orchestra: reed-pipes changer-pipes wood-pipes brass-pipes polychords idiophones, which mean the clappers, knockers and cymbals membranophones organophone Captain Khaavren speaking to Lady Daro: "'Why, madam, you are the orchestra, as I will demonstrate, if you will will allow me.' 'Certainly, sir. You may attempt to prove your case, and I will listen closely to your reasoning, though I warn you that I will accept no shoddy logic.' 'My logic will be as sharp as the sword with which you have lately delivered me from danger.' 'We had agreed not to speak of that.' 'Very well.' 'Then begin.' 'Listen: Your lips, first of all.' 'My lips? Why do you mention my lips?' 'Because they are part of the orchestra.' 'I perceive you are serious about this.' 'Entirely.' 'Very well, then, my lips. What part will they take?' 'They will be the reed pipes, with the humming of your voice as the reeds themselves.' 'Do you think so?' 'I am certain of it.' 'Then I accept my lips as the reed pipes, since you insist upon it. But is there a chanter-pipe in this orchestra, as well as the reed pipes.' 'There are chanter-pipes, reed-pipes, wood-pipes, and brass-pipes.' 'What, then, are the chanter-pipes?' 'What could they be but your own sweet bosom, with the delicate, steady pulsing of each breath that so occupies my thoughts?' 'Did you learn such speed in the service of His Majesty? Well, what, then, of the wood-pipes?' 'Your eyes, my only. They flutter and trill the high notes, yet have full, warm, deep timbre.' 'I did not know you knew so much of music, Captain. What, then, are the brass-pipes?' 'The set of your chin and the lines of your face provide the music with its power, and make the forceful statements without the sweet refrains would be insipid, but against which they are played with such beauty that all eyes moisten when the ears are so treated.' 'I like these comparisons.' 'I'm glad you do. And yet, you are laughing.' 'That is true, but I hope my laughter does not wound you--you are already wounded enough. I laugh from pleasure, and because I must laugh in the face of such compliments, lest they turn my head.' 'I am glad you are not laughing at me, at any rate, for my self-love could not stand the anguish.' 'Be reassured.' 'Well, what of the polychords? One cannot have an orchestra without them.' 'Your hands will be the polychords, each finger ringing a different note.' 'Well, what next? The idiophones, by which I mean the clappers, knockers and cymbals? 'These will be taken by the beating of your heart, which encloses my own in its gentle rhythms. 'Ah, ah! You are a poet, sir.' 'And are there, then, membranophones as well?' 'But surely, madam, your legs are the membranophones, for they support the orchestra, and can as well exhibit grace, elegance, and beauty.' 'You are making me blush.' 'You do so prettily.' 'It seems we have nearly completed our orchestra, except for the organophone, which must only be played by a master, yet which can produce music which excites, terrifies, strupefies, or calls up any of countless other emotions, all with the subtlest touch of the fingers.' 'Oh, madam, no gentleman could be so crude as to detail the location of this most sacred of all instruments.' 'Ah, now I am blushing and laughing at once, and my dignity is gone forever. I will never forgive you.' 'But have I convinced you, at least, that you are worthy of discussion?' 'I assure you, I surrender fully. What do you want to know? 'What else but everything?' 'Everything is a great deal. Where shall I begin? 'Tell me of your family.'" Five Hundred Years After, Chapter the Twenty-first, pages 315-317