West, Ancient Greek Music", "Curt Sachs, The History of Musical Instruments", "Plutarch, On Music", "Julius Pollux, Onomasticon", "Nicomachus,"Manual of Harmonics".These days, young Chinese carry iPhones and listen to pop music (流行音乐 – liú xíng yīn yuè) by day, and they hit KTV (karaoke) clubs at night.
#4 stringed instruments free
The free fingers pressed or plucked its strings while the right hand struck them with the "plectrum". The standing or seated player balanced the kithara upright against the left side of his body pressing it leterally against his belly (with the help of a sling which went through the left arm of the instrument and his left wrist). The careful rotation of the leather bulge or slip of each string permitted its tuning. The strings started at the tailpiece, passed over the bridge ("magadion") and tied round the crossbar with the help of a thong, or with free or fixed slips of wood. Its strings were usually seven, of medium tonality, since their length was between that of the phorminx and the barbitos. The arms were thin and willowy like those of the barbitos with different curves for their imperceptible motion thus creating a distinct wave-like resonance. It consisted of a small crescent-shaped wooden soundbox (convex of the phorminx) without extentions for its arms. It was an impressive stringed instrument which is also called "Thracian" guitar because it first appears (in vase paintings) in the hands of mythical Thracian singers (Orpheus and Thamyras).
#4 stringed instruments manual
West, Ancient Greek Music", "Curt Sachs, The History of Musical Instruments", "Plutarch, On Music", "Athenaeus of Naucratis, Deipnosophistai" "Julius Pollux, Onomasticon", "Nicomachus, Manual of Harmonics". Terpander (who established the 7th string), Stesichorus, Amiveas of Athens, Aristonicus of Argos (who introduced solo playing -unaccompanied by song), Agelaus of Tegea and Lysander of Sicyon are only some of the numerous famous charismatic kitharodes. The player held the kithara almost upright against the left side of his body (bent slightly inward, often with the help of a sling) and the left-hand fingers pressed or plucked its strings (usually 7) while the right hand struck them with the "plectrum".
#4 stringed instruments series
The bridge ("magadion") which was sometimes also complicated with a series of incorporated tension levers gave the possibility of alternative, equal in number, note production. Also the sliding balance bronze weights of the crossbar helped in its tuning. Τhe two (possibly cam rotating) prominent spirals on the upper arms, which supported the crossbar, helped in releasing and adjustment of tension of the crossbar (and the strings) so that the organ is at rest or playing position. The elasticity of the arms allowed them imperceptible vertical motion thus creating a distinct wave-like resonance. The connecting flexible curlicues (a compli-cated adjusting mechanism of curved metal strips, horns, etc).
It consisted of a large trapezoid wooden soundbox with two incorporated symmetrical solid curved arms that were connected to two upper arms. It was a majestic stringed instrument with a powerful and deep sound which required particular virtuo-sity and accompanied the song ("kitharodeia") in music competitions and other important public events.
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