In this section the history and development of chess is discussed. The origin of chess has created much debate throughout the centuries. The development of the chess board as well as the changes in the movement of chess pieces seemed to have greatly impacted the way in which chess as a whole is represented globally today.
There are many theories about the origin of chess. Earlier research believed chess to have originated in China, prior than in India. Chess in Chinese is named Chaturanga, which is the original Western Indian name for the game. Cox Forbes was one of the theorists who believed chess to have originated from an earlier Chinese board game, namely Chaturaji (Forbes 1860 pp. 1-46). Another researcher, David Li, found that an earlier form of chess existed in 203BC, although there is various written evidence that contests Li’s theories (Paul 1936 p. 1). According to Harold Murray, a researcher on the history of chess, all theories regarding the origin of the chess game were incorrect and he contested
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them in a book which he published in 1913. Murray’s research found that chess did in fact originate in India, which is what most chess historians still teach today. He explained that chess later made its appearance in China where Chaturanga evolved into another form of chess named Xiangqi (Murray 2015 pp. 57-120). An interesting fact about Xiangqi is that the chess pieces were placed on top of the lines that intercepted one another on the chess board, instead of being placed on top of squares as in modern chess (Remus 2015).
Chess can be traced back to at least 500 AD, although the modern chess which is played today has been played since the sixth century. The game of chess has undergone many changes including: the names of the pieces; the directions in which the pieces move; the layout of the board and even the name “chess”. The development can be seen in five stages from 700 AD up to the game of chess that is played today. These stages are: The Sanskrit Period, the Persian Period, the Arabic Period, the Medieval Period and the Modern Period (Bird 2010 pp. 7- 85).
Davidson (2012) explains the five stages of chess development: The Sanskrit Period of Chess which existed in Western India was called Chaturanga and the pieces were as follows: Rajah (King), Mantri (Queen), Gaja was an elephant (Bishop), Asva (Knight), Ratha was a boat or chariot (Rook) and lastly the Padati was a foot soldier (Pawn).
In the Persian Period of Chess, it was known as both Chatrang and Shatranj. At this time chess was played in India and Persia, where it became famous among Persian Royalty. The names of the pieces were altered greatly: Shah (King), Farzin (Queen), Asp (Knight), Pil (Elephant/Bishop), Rukh (Boat/Chariot/Rook) and Piyadah (Pawn).
The Arabic Period of Chess adopted the name of Shatranj and chess was now played in various Middle Eastern countries. The names of the chess pieces
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changed once again: Shah (King), Firz (Queen), Fil (Elephant/Bishop), Baidaq (Pawn) the, but Rukh (Boat/Chariot/Rook) stayed the same.
The Medieval Period of Chess introduced the game to Europe for the first time in the early 13th century. The names of the pieces saw adaptations which included
English words, which still apply today. These include the King, Pawn, Knight and Rook (at this stage the Rook was not yet in the form of a castle; instead it symbolised both a chariot and a bird). The Ferz (Queen) and Alifil (Bishop) still retained their Middle Eastern names.
The Modern Era of Chess introduced set rules and structure to the game. These rules still apply today. Previously, the game of chess required players to capture all their opponents’ pieces on the board before a game was considered over. This was changed to the King’s entrapment (Checkmate) as being the only way to complete a game of chess, regardless of the number in captured pieces. The Queen Pawn, the concept of castling, the increased movement of the Bishop, the increased movement of the Queen, the option of skipping a square on a Pawn’s first move as well as en passant were all established during this period (Davidson 2012 pp. 19-36).
The development of chess was relevant for this study as I needed to explore ways in which to implement chess moves into music variables. The movements which chess pieces make, and have made in the past, aided new possibilities and methods by which to approach the representation of musical intervals via the use of chess moves.
Chess pieces have developed rapidly throughout history and as a result, I realised that, if sounds were implemented within the movements of the chess pieces, I would have to define each piece in accordance with its assigned sound. I calculated that I would not be able to give logical justifications for making a chess piece sound a certain way, for example why should a Knight sound as a “G”? As a result I made a supposition that it would be better to represent musical
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pitches within the chess board, rather than implementing them into the chess pieces. Creating musical pitches within the chess board would make it more accessible to play different versions of chess, such as “Doubles” (this requires four players, two chess boards, and all the captured pieces which are given to the opposition’s team mate. These captured pieces may be placed anywhere on the board at any point in the game). It is also not likely that the chess board will change in the future. As a result, this section guided me to further explore the variables within the chess board.