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Greek vase with muse playing the phorminx, a type of lyre
(Composite chordophone sounded with a plectrum)
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Greek vase with muse playing the phorminx, a type of lyre
(Composite chordophone sounded with a plectrum)
The lyre (Greek: λύρα, lýra) is a string instrument known for its use in Greek classical antiquity and later. The word comes via Latin from the Greek; the earliest reference to the word is the Mycenaean Greek ru-ra-ta-e, meaning "lyrists" and written in the Linear B script. The lyres of Ur, excavated in ancient Mesopotamia (modern Iraq), date to 2500 BC. The earliest picture of a lyre with seven strings appears in the famous sarcophagus of Hagia Triada (a Minoan settlement in Crete). The sarcophagus was used during the Mycenaean occupation of Crete (1400 BC). The recitations of the Ancient Greeks were accompanied by lyre playing. The lyre of classical antiquity was ordinarily played by being strummed with a plectrum, like a guitar or a zither, rather than being plucked, like a harp. The fingers of the free hand silenced the unwanted strings in the chord. The lyre is similar in appearance to a small harp but with distinct differences.
"Lyre" can either refer specifically to a common folk-instrument, which is a smaller version of the professional cithara and eastern-Aegean barbiton, or "lyre" can refer generally to all three instruments as a family.
In organology, lyres are defined as "yoke lutes", being lutes in which the strings are attached to a yoke which lies in the same plane as the sound-table and consists of two arms and a cross-bar.
The term is also used metaphorically to refer to the work or skill of a poet, as in Shelley's "Make me thy lyre, even as the forest is" or Byron's "I wish to tune my quivering lyre,/To deeds of fame, and notes of fire"
Lyre from various times and places are regarded by some organologists (specialists in the history of musical instruments) 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 banjo, and similar stringed instruments with fingerboards. Those who differ with that opinion counter by calling the lute, violin, guitar, banjo, and other such instruments "independent fingerboard lyres," as opposed to simply "fingerboard lyres" such as the Welsh crwth, which have both fingerboards and frameworks above their resonators.
One point on which organologists universally agree is that lyres are closely related to harps (and, in some views, lutes). The other point of agreement is that harps are different from lyres in having strings emanating directly up from the soundboard and residing in a plane that is near perpendicular to the soundboard, as opposed to lyres, lutes, zithers and similar instruments, whose strings are attached to one or more points somewhere off the soundboard (e.g.., wrest pins on a zither, tailpiece on a lyre or lute) and lie in a plane essentially parallel to it. They also agree that neither the overall size of the instrument nor the particular number of strings on it are essential to the classification of these instruments. For example, small Scottish and Irish harps can be held on the lap, while some ancient Sumerian lyres appear to have been as tall as a seated man (see Kinsky; also Sachs, History ..., under "References"). Regarding the number of strings, the standard 88-key piano has many more strings than even the largest harp, and harps have many more strings than lyres.
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. 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 having a slacker tension. The strings were of gut. They were stretched between 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.
According to ancient Greek mythology, the young god Hermes stole a herd of sacred cows from Apollo. In order not to be followed, he made shoes for the cows which forced them to walk backwards. Apollo, following the trails, could not follow where the cows were going. Along the way, Hermes slaughtered one of the cows and offered all but the entrails to the gods. From the entrails he created the Lyre. Apollo, figuring out it was Hermes who had his cows, confronted the young god. Apollo was furious, but after hearing the sound of the lyre, his anger faded. Apollo offered to trade the herd of cattle for the lyre. Hence, the creation of the lyre is attributed to Hermes. Other sources credit it to Apollo himself.
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.
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, which is corroborated by the antique use of the chromatic (half-tone) and enharmonic (quarter-tone) tunings pointing to an early exuberance, and perhaps also to a bias towards refinements of intonation.
Other instruments known as lyres have been fashioned and used in Europe outside the Greco-Roman world since at least the Iron Age. The remains of a 2300 year old lyre was discovered on the Isle of Skye, Scotland in 2010 making it Europe’s oldest surviving stringed musical instrument. 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.
Lyres appearing to have emerged independently of Greco-Roman prototypes were used by the Teutonic, Gallic, Scandinavian, and Celtic peoples over a thousand years ago. Dates of origin, which probably vary from region to region, cannot be determined, but the oldest known fragments of such instruments are thought to date from around the sixth century of the Common Era. After the bow made its way into Europe from the Middle-East, around two centuries later, it was applied to several species of those lyres that were small enough to make bowing practical. There came to be two broad classes of bowed European yoke lyres: those with fingerboards dividing the open space within the yoke longitudinally, and those without fingerboards. The last surviving examples of instruments within the latter class were the Scandinavian talharpa and the Finnish jouhikko. Different tones could be obtained from a single bowed string by pressing the fingernails of the player's left hand against various points along the string to fret the string.
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.
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.
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