1260 “The earliest literary reference to the pipe and tabor in Spain is in the book 'Ars Musicae'
by Fray Juan Egidio de Zamora.  In a description of the sound of the tympanum (drum or atabal),
he notes that the difference in sound intensity between the fistula (flute) and the tympanum itself
must be taken into account if both are played together.

1401 Castille, the third manuscript of “The Book of “good love” by the Archpriest of Hita.
the verse referring to a flute (chiflo) with a drum as the 'tanborete' :
"Half a pipe and harp with the Moorish rabe,
Among them the joyful Francisco gallop,
The flute with them is higher than a crag,
With it the small drum, without it is worthless."

Juan de Garamendi (or Aramende), was at the service of the Queen:
“to Juan de Garamendi, ministril of tambourine, another twelve thousand five hundred mrs of the said his ration
and removal of the said time that he served the said princess [of Wales]”...
He travelled to England with the Princess of Wales

The House of Burgundy had two tambourinos: Carlos de Lacy and Aubert le Cont.

Flanders, February 1502.
“…The said duke came ringing trumpets, tambourinos and flutes to dismount in the courtyard;…”

'FLUTE PLAYERS, TAMBORINOS, XABEBAS AND FIFANS FROM CASTILLA AND FLANDERS AT THE DAWN
OF THE RENAISSANCE' by Ana LOPEZSUERO

15th century At the court of Álvaro de Luna, Constable of Castile and Master of the Order of Santiago:
In his court, music always found a place and formed an essential part of both the nobleman's public
processions and his private entertainment, spheres for which, according to the chronicles of the time,
he had "many minstrels and trumpeters and tamborinos."

The presence of instruments at Court served both public representation functions and the need for music
in the private sphere. In both contexts, however, the instruments used differed. In the first case, so-called
"high" instruments were used. These were instruments with great sonic potential, generally wind instruments,
capable of being heard outdoors and in large gatherings, and were usually played by professional musicians

'Music and Courtly Culture in the Time of the Catholic Monarchs' by Francisco Parralejo Masa

From Court documents:
Empress Isabel had a tambourino, named Juan Sánchez, who served from 1526 until his death.
1539 Juan Sánchez is called a "tamborino"
1549 Sebastián Sánchez was in the service of the Lady Infanta Doña Juana.
He was a master in "appropriating dance" and a ‘tamborino’.

16th century: Tamborileros were employed in Castile.
1526 Empress Isabella employed ‘un flautista y tamborino’ named Juan Sánchez, who served
in her chamber from 1526 until his death.

‘Sevillian musicians through their signatures (1570-1650)’  by  Clara Bejarano PelliCer

1772 novel:
“The long wished-for day of the feast and hour of the function being arrived …
First of all went the tabor and pipe and the dancers, eight of the smartest and most agile youths of Campazas..."

'The history of the famous preacher Friar Gerund de Campazas: otherwise Gerund Zotes. Vol. II / [by the Father Joseph Francis Isla] ;
translated from the Spanish in two volumes' by Isla, José Francisco de

February 20, 1502
" After dinner, everything was cleared and taken, tables and trestles, out of the room. And then ‘el tamborino’
began to play for dancing, and they performed a dance or two.”

also called Chifla Maragata,this is the most characteristic instrument in the province of León,
and specifically in the regions of El Bierzo and La Maragatería. Currently, an agreement
has not yet been reached regarding its basic tuning

more on the Maragata flute here

In the late 19th and early 20th centuries the pipe and tabor was displaced by the dulzaina and snare drum.

There are written references to the pipe and tabor playing for dancing at Corpus Christi festivals since
the end of the 16th century.

In Palencia in 1597, the alderman arranged a dance of eight …
”and they will go dancing and doing whatever else is necessary, they carry a taborer to guide them..."

1613 "he would have to do a dance of tapping and playing for eight people with his tabor and pipe"

1626, four young men, … "made an agreement with Sebastián Salvador, taborer from Frechilla (Palencia), that …
This taborer would play on Corpus Christi day and another chosen one…without charging them anything….
On the third Sunday of each month … he would go around the streets of the town twice playing the drum or the psaltery"

between 1683 and 1752 the pipe and tabor also accompanied dancers at Corpus Christi in Villarramiel.

Until 1860 in the Cerrato region in the town of Valdecañas, Gregorio Garriche, "uncle Garriche",
played and also in the towns of Venta de Baños and Palenzuela.  Gregorio’s life had a disastrous end when
he decided to end his days by hanging himself.

In the 20th century in Palencia Capital "uncle Liar" played in the Puebla neighbourhood for the brotherhoods
of S. Lázaro and also for stick dances until the 1940’s.

‘PAST, PRESENT AND FUTURE OF THE FLUTE AND THE DRUM IN CASTILLA Y LEÓN’
Article originally published in Txistulari n°172, 1997/4, by: Alberto Jambrina Leal and Carlos Antonio

16th century This province is the primary seat of government and de facto capital of Castile and León. It was
one of the kingdom’s richest cities. Ownership of musical instruments by individuals belonging to very different
social classes was very common in the first half of the 16th century.

” the maestros de danzar (dance masters) who, furnished with pipe and tabor (or salterio), provided the music
in various popular festivities. Such musicians were indispensable in the celebration of the Corpus Christi, for instance,
since they also accomplished the tasks of gathering the dancers, designing the choreography, and supplying
the required garments"

“Flute music is not a practice or entertainment for a nobleman, since it deprives the ability to speak while playing,
since the mouth occupies the mouth with the instrument, and the same is understood of the instruments of the mouth,
such as the shawm, sackbut, curtal, dulzaina, etc. [...]. There were also little flutes made from the bones of the cranes,
from which they took the name of tibiae, because the fifes that are played together with the drums of war are made
today of cane or leg bones of these birds “

String Drum pipes (Flautas de Salterio) ordered by people in Valladolid:
27 September 1553 -1
31 January 1593 -1
19 August 1593 -15
10 January 1600 -2

‘The Network of Musicians in Valladolid, 1550–1650: Training, Companies, Livelihoods, and Related Crafts and Trades’ by López Suero, Ana

‘A fleeting moment of fulfilment: The Corpus Christi festival in Valladolid during the first half of the 17th century’ by Lourdes Amigo Vázquez

Between 1683 and 1752 a taborer accompanied dancers at Corpus Christi festivals in both Tiedra
and Adalia. Between 1773 and 1780 the same took place in Villanubla.

‘PAST, PRESENT AND FUTURE OF THE FLUTE AND THE DRUM IN CASTILLA Y LEÓN’
in Txistulari n°172, 1997/4, by: Alberto Jambrina Leal and Carlos Antonio

During the 19th century a taborer played at the Águedas (women's) celebrations in Torrelobatón for many years.
He was not paid well.  In 1871 100 reales were paid to the dulzaineros while the taborer was only paid 35 reales.
Between 1872 and 1875 Juan Almeida played by himself.  Between 1878 and 1883 the dulzaina joined him. 
1883 was the last year in which this taborer appeared at festivities.

Máximo Mato stopped playing the pipe and tabor in 1920 in Peñaflor de Hornija, where he had previously taken
part in the festivities. A taborer from Aguilar de Campos town played in Ceinos de Campos municipality until
after the Civil War, which ended in 1939.

‘PAST, PRESENT AND FUTURE OF THE FLUTE AND THE DRUM IN CASTILLA Y LEÓN’
in Txistulari n°172, 1997/4, by: Alberto Jambrina Leal and Carlos Antonio

1826 memoir published in London, England:

‘Don Esteban; or, Memoirs of a Spaniard’ by Llanos Gutiérrez, Valentin, Chapter V

1260 “The earliest literary reference is found in the book 'Ars Musicae' by Fray Juan Egidio de Zamora
who, in a description of the sound of the tympanum (drum or kettle drum), notes that the difference
in sound intensity between the fistula (flute) and the tympanum itself must be taken into account
if both are played together.”