In Part one we skimmed through the prehistory of the modern concert xylophone. And ended with the quaint conclusion that when it reached the high tide of its popularity (to date), the xylophone was not, in fact, a xylophone.
Musicians in the UK who know maker/repairer Paul Jefferies may have heard his critical opinion of modern commercial xylophones -- "They're not xylophones! They're piccolo marimbas!"
(You don't have to take my word for this as he has repeated the point on his blog.)
Which got me thinking about what it is that makes a xylophone a xylophone.