The Kithara

Like the  lyre , the kithara is a string instrument. The main difference is found in the soundbox and its size. The kithara can be described as the wooden version with larger dimensions. It was also considered a more professional instrument ( Aristot. Pol. 8.1341a ). Kithara players took part in musical contests and processions ( Ps. Plut. Mus. 6 ;  Mathiesen, 260 ;  Landels, 5 ).  Aulos  players would sometimes join them in the latter. Some play writers added the kithara to their theatrical stages ( Mathiesen, 249 & 259 ;  Eur. IA 1038 ;  Eur. Alc. 578 ).

While most people were familiar with the instrument, it was only played by a select group of people - unlike the  aulos  and  lyre . For instance, it was not generally taught to youths ( Landels, 7 ). Neither are women depicted with the instrument often (i bid. )

The kithara is a predominantly wooden instrument, equipped with reed, horns, metal, and strings. The soundbox of the kithara consists of wooden panels that were likely glued together ( Trosch, 5 ). The wood has been described as with 'concordant sounds', but the exact wood type is unknown due to a lack of archaeological evidence ( D.L. 6.2 ). Despite this, it has been suggested that more expensive, perhaps imported, wood types were used since kithara players partook in musical competitions. Distinct wood types could have let musicians stand out from the crowd ( Trosch, 3-4 ).

Stalks of reed were probably used to strengthen the soundbox from the inside ( Landels, 64-65 ). This enforcement allowed the instrument to withstand the tension of the strings, prolonging its lifespan. More reed might have been used for the bridge, which guides the strings between the crossbar and tailpiece ( Aristoph. Frogs 225 ).

Horns and metal were used in the spring mechanism of the arms. The arms consist of two parts, the top and the bottom. Both are wooden, but the spring mechanism in between was probably made of horn and metal ( Georgiou ). Educated guesses on the design have been made by looking at the intricate detail of the kitharai on  pottery depictions . The spring mechanism allowed for some flexibility in the arms, perhaps intensifying the vibration ( Koumartzis et al., 226-36 ).

The tailpiece, to which the lower ends of the strings were attached, was probably metal ( Mathiesen, 241 ;  Koumartzis et al. 326 ). This was also the case for the  lyre  ( Castaldo, 354 ). The material needed to be strong enough to withstand the constant pulling motion of the strings.

Return to the main story below:

• Castaldo, Daniela. “ Sound Boxes of Ancient Greek Lyres from Roca (Lecce, Italy) .” Studien Zur Musikarchäologie VI, Orient-Archäologie, 2008.
• Georgiou, Michalis.  Reconstruction of Ancient Greek Lyre . YouTube, 2016.
• Koumartzis, Nikolaos, D. Tzetzis, Panagiotis Kyratsis, and Rigas G. Kotsakis. “ A New Instrument from Ancient Times: Modern Reconstruction of the Greek Lyre of Hermes Using 3D Laser Scanning, Advanced Computer Aided Design and Audio Analysis .” Journal of New Music Research 44, no. 4 (2015): 324–46.
• Landels, John G.  Music in Ancient Greece and Rome . London and New York: Routledge, 1999.
• Mathiesen, Thomas J.  Apollo’s Lyre: Greek Music and Music Theory in Antiquity and the Middle Ages . Lincoln: University of Nebraska Press, 1999.
• Trosch, Joshua Payne. “ Reconstructing the Classical Kithara, ” 2015.