1468 a musician played the flageol (flute) and the tabourin (drum) at the wedding of Charles the Bold
and Margaret of York in Bruges.  The player was part of a team of seven dancers dressed up as monkeys,
who performed a morisque.

1560 The low status of the taborer had was now a fact. An ordinance issued by the Saint Job's corporation of musicians
in Antwerp stated that: those playing the pipe and tabor, “not being musical instruments”, were to become members
of this corporation, but they were exempted from a competence test.

early 19th century Cornelius-Jean-Joseph (Corneel) Tuerlinckx  1783 –1855  a Belgian composer and conductor
who inherited a wind instrument workshop from his father, produced a fingering chart for ‘Flutte Tambourine’ based
on the French style. 

first half of the 19th century: Following the French fashion the pipe and tabor was possibly reintroduced
into Belgium as a pastoral instrument, used to evoke a rural festive atmosphere.

1845 tabor pipes were sold by Verhasselt in Brussels, possibly sourced in France

1930 The pipe and tabor was revived for the Brussels Omme gang (procession), following the mid-16th-century model.

1970 another revival by Flemish folk instrument maker Herman Dewit (Kester). He designed his tabor pipes
after the examples found in Mechelen and Goedereede.