Professional Documents
Culture Documents
Contents
1 Construction
2 Number of strings
3 Central and Northern Europe
4 Global variants
4.1 Europe
4.2 Asia
4.3 Africa
5 Classification
5.1 Other instruments called lyres
6 See also
7 References
8 Bibliography
9 External links
Construction
A classical lyre has a hollow body or sound-chest (also known as soundbox or
resonator), which, in ancient Greek tradition, was made out of turtle shell.[8]
Extending from this sound-chest are two raised arms, which are sometimes
hollow, and are curved both outward and forward. They are connected near the
top by a crossbar or yoke. An additional crossbar, fixed to the sound-chest,
makes the bridge which transmits the vibrations of the strings. The deepest note
was that farthest from the player's body; as the strings did not differ much in
length, more weight may have been gained for the deeper notes by thicker
strings, as in the violin and similar modern instruments, or they were tuned by
Lyre with tortoiseshell body
having a slacker tension. The strings were of gut. They were stretched between
(rhyton, 480–470 BC)
the yoke and bridge, or to a tailpiece below the bridge. There were two ways of
tuning: one was to fasten the strings to pegs which might be turned; the other
was to change the place of the string upon the crossbar; probably both
expedients were used simultaneously.
Some of the cultures using and developing the lyre were the Aeolian and Ionian Greek colonies on the coasts of
Asia (ancient Asia Minor, modern day Turkey) bordering the Lydian empire. Some mythic masters like
Musaeus, and Thamyris were believed to have been born in Thrace, another place of extensive Greek
colonization. The name kissar (cithara) given by the ancient Greeks to Egyptian box instruments reveals the
apparent similarities recognized by Greeks themselves. The cultural peak of ancient Egypt, and thus the
possible age of the earliest instruments of this type, predates the 5th century classic Greece. This indicates the
possibility that the lyre might have existed in one of Greece's neighboring countries, either Thrace, Lydia, or
Egypt, and was introduced into Greece at pre-classic times.
Number of strings
The number of strings on the classical lyre varied at different epochs, and possibly in different localities—four,
seven and ten having been favorite numbers. They were used without a fingerboard, no Greek description or
representation having ever been met with that can be construed as referring to one. Nor was a bow possible, the
flat sound-board being an insuperable impediment. The pick, or plectrum, however, was in constant use. It was
held in the right hand to set the upper strings in vibration; when not in use, it
hung from the instrument by a ribbon. The fingers of the left hand touched the
lower strings (presumably to silence those whose notes were not wanted).
There is no evidence as to the stringing of the Greek lyre in the heroic age.
Plutarch says that Olympus and Terpander used but three strings to accompany
their recitation. As the four strings led to seven and eight by doubling the
tetrachord, or series of four tones filling in the interval of a perfect fourth, so
the trichord is connected with the hexachord or six-stringed lyre depicted on
many archaic Greek vases. The accuracy of this representation cannot be
insisted upon, the vase painters being little mindful of the complete expression
of details; yet one may suppose their tendency would be rather to imitate than
to invent a number. It was their constant practice to represent the strings as
being damped by the fingers of the left hand of the player, after having been
struck by the plectrum which he held in the right hand. Before Greek
civilization had assumed its historic form, there was likely to have been great
freedom and independence of different localities in the matter of lyre stringing, Pothos (Desire), restored as
which is corroborated by the antique use of the chromatic (half-tone) and Apollo Citharoedus during the
enharmonic (quarter-tone) tunings pointing to an early exuberance, and perhaps Roman era (1st or 2nd century
AD, based on a Greek workca.
also to a bias towards refinements of intonation.
300 BC); the cithara strings are
not extant
Central and Northern Europe
Other instruments known as lyres have been fashioned and used in Europe
outside the Greco-Roman world since at least the Iron Age.[10] The remains of
what is thought to be a 2300-year-old lyre was discovered on the Isle of Skye,
Scotland in 2010 making it Europe’s oldest surviving stringed musical
instrument.[10][11] Material evidence suggests lyres became more widespread
during the early Middle Ages, and one view holds that many modern stringed
instruments are late-emerging examples of the lyre class. There is no clear
evidence that non-Greco-Roman lyres were played exclusively with plectra,
and numerous instruments regarded by some as modern lyres are played with
bows.
The last of the bowed yoke lyres with fingerboard was the "modern" (ca. 1485 – ca. 1800) Welsh crwth. It had
several predecessors both in the British Isles and in Continental Europe. Pitch was changed on individual
strings by pressing the string firmly against the fingerboard with the fingertips. Like a violin, this method
shortened the vibrating length of the string to produce higher tones, while releasing the finger gave the string a
greater vibrating length, thereby producing a tone lower in pitch. This is the principle on which the modern
violin and guitar work.
While the dates of origin and other evolutionary details of the European bowed yoke lyres continue to be
disputed among organologists, there is general agreement that none of them were the ancestors of modern
orchestral bowed stringed instruments, as once was thought.
Global variants
Europe
Asia
Israel: kinnor
Nepal: sarangi Left image: Silenus holding a lyre, detail of afresco from the Villa of the Mysteries,
Iraq: sammu, tanbūra, Pompeii, Italy, c. 50 BC
zami, zinar Right image: Cupids playing with a lyre, Roman fresco fromHerculaneum
Arabian peninsula: tanbūra
Yemen: tanbūra,
simsimiyya
Pakistan: barbat, ektara, tanbūra
India: ektara
Bangladesh: ektara
Siberia: nares-jux
Iran: chang
Africa
Egypt: kissar, tanbūra, simsimiyya
Sudan: kissar, tanbūra
Ethiopia and Eritrea: begena, dita, krar
Uganda: endongo, ntongoli
Kenya: kibugander, litungu, nyatiti, obokano
Tanzania: litungu
Classification
Lyre from various times and places are sometimes regarded by organologists as a branch of the zither family, a
general category that includes not only zithers, but many different stringed instruments, such as lutes, guitars,
kantele, and psalteries.
Others view the lyre and zither as being two
separate classes. Those specialists maintain that
the zither is distinguished by strings spread
across all or most of its soundboard, or the top
surface of its sound chest, also called soundbox
or resonator, as opposed to the lyre, whose
strings emanate from a more or less common
point off the soundboard, such as a tailpiece.
Examples of that difference include a piano (a
keyed zither) and a violin (referred to by some
as a species of fingerboard lyre). Some
specialists even argue that instruments such as
the violin and guitar belong to a class apart
from the lyre because they have no yokes or
uprights surmounting their resonators as "true"
lyres have. This group they usually refer to as
the lute class, after the instrument of that name,
and include within it the guitar, the violin, the
Dimensions of a lyre from banjo, and similar stringed instruments with
Ancient Egypt, found in fingerboards. Those who differ with that
Thebes Reproduction of the lyre from
opinion counter by calling the lute, violin,
the Sutton Hoo royal burial
guitar, banjo, and other such instruments
(England), late 6th/early 7th
"independent fingerboard lyres," as opposed to
century AD
simply "fingerboard lyres" such as the Welsh crwth, which have both
fingerboards and frameworks above their resonators.
Over time, the name in the wider Hellenic space came to be used to
label mostly bowed lutes such as the Byzantine lyra, the Pontic lyra, the
Constantinopolitan lyra, the Cretan lyra, the lira da braccio, the
Calabrian lira, the lijerica, the lyra viol, the lirone.
See also
Lyre-guitar
Asor
References
A lyrist on the Standard of Ur, believed
1. λύρα (http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3 to date to between 2600–2400 BC
Atext%3A1999.04.0057%3Aentry%3Dlu%2Fra), Henry George
Liddell, Robert Scott, A Greek-English Lexicon, on Perseus
Digital Library
2. Palaeolexicon (http://www.palaeolexicon.com/), Word study tool
of ancient languages
3. Michael Chanan (1994). Musica Practica: The Social Practice of
Western Music from Gregorian Chant to Postmodernism. Verso.
p. 170. ISBN 978-1-85984-005-4.
4. Image of Hagia Triada Sarcophagus (http://www.uark.edu/campu
s-resources/dlevine/Hagia-Triada.jpg), University of Arkansas
5. J.A. Sakellarakis. "Herakleion Museum. Illustrated Guide to the
Museum." p.113,114. Ekdotike Athinon. Athens, 1987.
6. Percy Bysshe Shelley, Ode to the West Wind, I, 57–61.
7. Lord Byron (1807), Hours of Idleness: To His Lyre.
8. Lyre | Define Lyre at Dictionary.com (http://dictionary.reference.c
om/browse/lyre). Dictionary.reference.com. Retrieved on 2012-
09-17.
9. For example, the Annales Cambriae (B Text).
10. BBC News - Skye cave find western Europe's 'earliest string
instrument' (http://www.bbc.co.uk/news/uk-scotland-highlands-is
lands-17537147). Bbc.co.uk (2012-03-28). Retrieved on 2012-
09-17.
11. 'Europe's oldest stringed instrument' discovered on Scots island |
Highlands & Islands | News | STV (http://news.stv.tv/scotland/hig
hlands-islands/301843-europes-oldest-stringed-instrument-discov
ered-on-scots-isle/). News (2012-03-28). Retrieved on 2012-09-
17.
Bibliography
Chisholm, Hugh, ed. (1911). "Lyre". Encyclopædia Britannica
(11th ed.). Cambridge University Press.
Andersson, Otto. The Bowed Harp, translated and edited by
Kathleen Schlesinger (London: New Temple Press, 1930).
Bachmann, Werner. The Origins of Bowing, trans. Norma Deane
(London: Oxford University Press, 1969).
Jenkins, J. "A Short Note on African Lyres in Use Today." Iraq 31 (1969), p. 103 (+ pl. XVIII).
Kinsky, George. A History of Music in Pictures (New York: E.P. Dutton, 1937).
Sachs, Curt. The Rise of Music in the Ancient World, East and West (New York: W.W. Norton, 1943).
Sachs, Curt. The History of Musical Instruments (New York: W.W. Norton, 1940).
External links
Anglo Saxon Lyres at Yahoo!Groups
Ensemble Kérylos a music group directed by scholar Annie Bélis, dedicated to the recreation of ancient
Greek and Roman music, and playing instruments reconstructed on archaeological reference.
"The Universal Lyre - From Three Perspectives" Article by Diana Rowan: a survey of three current lyre
practitioners and builders - Temesgen Hussein of Ethiopia, Michalis Georgiou of Cyprus and Michael
Levy of the United Kingdom.