By the turn of the nineteenth century composers such as Daniel Steibelt and Muzio Clementi were writing keyboard pieces with tambourine (and, occasionally, triangle) parts that were clearly intended for private salon performances by girls and young women. These works were introduced to public and private European salons during the early nineteenth century. Steibelt performed such pieces, typically waltzes, bacchanals, rondos and divertissements whilst on tour with his English wife Catherine, daughter of the London-based music publisher and patent tambourine manufacturer Joseph Dale. She became a renowned tambourine virtuoso, even attracting the attention of the Bohemian musician and writer Václav Jan Tomášek, who described the great sensation caused by Catherine's performances.

I analyse different types of works that were written for the tambourine around the year 1800. Examples of short waltzes (which were usually published in sets of 6 or 12) are plentiful – they were by far the most common pieces written for piano and tambourine – and in them the historical link between the tambourine and dance is most obvious. I argue that these waltzes may have served as a bridging point between dance-like, energetic, social activities and passive, recreational drawing-room music. Further support for this idea can be found in a Grand Sonata for pianoforte, tambourine, flute, violin and basso by Joseph Dale. The tambourine part contains numerous choreographic instructions as well as a wide variety of playing techniques such as thumb rolls, bass notes and harmonics, the likes of which did not become common practice in the orchestral or chamber repertory until the twentieth century. Dale's intention was clearly to provide an opportunity for women musicians to express themselves in ways that were contrary to contemporary expectations of female social etiquette.

十九世纪之交，丹尼尔·施泰贝尔特 (Daniel Steibelt) 和穆齐奥·克莱门蒂 (Muzio Clementi) 等作曲家开始用手鼓（有时还有三角）部分创作键盘作品，这些作品显然是为女孩和年轻女性的私人沙龙表演而设计的。这些作品在十九世纪初被引入欧洲公共和私人沙龙。施泰贝尔特在与他的英国妻子凯瑟琳（伦敦音乐出版商和专利手鼓制造商约瑟夫·戴尔的女儿）巡回演出时演奏了此类作品，通常是华尔兹、酒神舞、回旋曲和娱乐曲。她成为了一位著名的手鼓演奏家，甚至吸引了波西米亚音乐家和作家瓦茨拉夫·扬·托马谢克（Václav Jan Tomášek）的注意，他描述了凯瑟琳的表演所引起的巨大轰动。

我分析了 1800 年左右为手鼓创作的不同类型的作品。短华尔兹（通常以 6 或 12 首为一组出版）的例子有很多——它们是迄今为止为钢琴和手鼓创作的最常见的作品——其中手鼓和舞蹈之间的历史联系最为明显。我认为这些华尔兹可能是舞蹈般的、充满活力的社交活动和被动的、娱乐性的客厅音乐之间的桥梁。对这个想法的进一步支持可以在大奏鸣曲中找到约瑟夫·戴尔为钢琴、手鼓、长笛、小提琴和低音而作的作品。手鼓部分包含大量的编舞指令以及各种各样的演奏技巧，例如拇指卷、低音音符和和声，直到二十世纪，此类技术才在管弦乐或室内乐剧目中成为常见做法。戴尔的意图显然是为女性音乐家提供一个机会，以违背当代女性社交礼仪期望的方式表达自己。