These variants all use metal strings, similar to the cittern. Chord zithers similar to the instrument in the photograph also became popular in North America during the late 19th and early 20th century. Emigration from these areas during the 19th century introduced the concert and Alpine zither to North and South America. Concert and Alpine zithers are traditionally found in Slovenia, Austria, Hungary, France, north-western Croatia, the southern regions of Germany and alpine Europe. In modern common usage the term "zither" refers to three specific instruments: the concert zither (German: Konzertzither), its variant the Alpine zither (both using a fretted fingerboard), and the chord zither (more recently described as a fretless zither or "guitar zither"). The number of strings varies, from one to more than fifty. Like a guitaror lute, a zither's body serves as a resonating chamber (sound box), but, unlike guitars and lutes, a zither lacks a distinctly separate neck assembly. Zithers are played by strumming or plucking the strings, either with the fingers (sometimes using an accessory called a plectrum or pick), sounding the strings with a bow, or, with varieties of the instrument like the santur or cimbalom, by beating the strings with specially shaped hammers. This article describes the second variety. Historically, it has been applied to any instrument of the cittern family, or an instrument consisting of many strings stretched across a thin, flat body – similar to a psaltery. It has a bank of fifteen melody strings open-tuned to the C-scale and also four groups of four strings each for playing chords. The zither shown below is a 4-chord fretless zither. The word ' Zither' is a German rendering of the Greek word cithara, from which the modern word "guitar" also derives. Zithers take many forms, but fundamentally they are all strings stretched over a resonating box. McGraw-Hill, New York.A zither is a stringed musical instrument. (1989) Roark’s Formulas for Stress and Strain. (Christina von Wunder was a nyckelharpa player in the Estonian instrumental folk music ensemble of Chicago, called Tuuletargad, led by Andres Peekna.) (2002) Physical modeling of plucked string instruments with application to real-time sound synthesis, Journal of the Audio Engineering Society 44, 331–353. Välimäki, V., Huopaniemi, J., Karjalainen, M., and JÃnosy, Z. (2004) My Kantele Is My Teacher: Basic Info and Instruction for 5/10 String Kanteles. Tuttlingen, Baden-Württemberg, Germania 84, 93–142. Jahrhunderts aus Grab 58 von Trossingen Lkdr. (2006) Die vollständing erhaltene Leier des 6. (2007) Phylogenetics and material cultural evolution, Current Anthropology 48(1), 146–153. (2004) Evolution of the Baltic psaltery, a case for phyloorganology, The Galpin Society Journal 57, 219–230. Khoroshev, eds., History and Culture of the Ancient Russian City, Moscow University Press, Moscow.) Povetkin, On the origin of the gusli with the hand-hole. Izd-vo Moskovskogo universiteta: Moskva, pp. Khoroshev, Istoria I kultura drevnerusskogo goroda. (1989b) O proiskhodzenii guslej s igrovym oknom, v G.A. Novgorodsky Istorichesky Sbornik 3(13), 51–62. (1989a) Zvonkie struny drevnikh novgorodskikh guslej. (2005) Design and analysis of a modified kantele with increased loudness, Acta Acustica/Acustica 91, 261–268. Penttinen, H., Erkut, C., Pölkki, J., Välimäki, V., and Karjalainen, M. (May 2005b) Tuning the lower resonances of carved Baltic psalteries by adjusting the areas of the sound holes, presented at the joint meeting of the American Acoustical Society and the Canadian Acoustics Association, Vancouver, BC. (August 2005c) Acoustics of Baltic psaltery, another outstanding Latvian kokle, Proceedings of Forum Acusticum 2005 Budapest (available on CD-ROM): 391–394, Paper No. (March/April 2005a) The acoustics of carved Baltic psalteries, Acta Acustica/Acustica 91, 269–276. (2009) Comparing beryllium copper strings to steel strings on a carved kannel, Musiikin suunta (U. (1998) An experiment with beryllium copper strings on a carved kannel, presented at the Second Festival of Traditional Arts, “Jalkala 98,” Jalkala Museum (near Zelenogorsk), Russia. Kansanmuusiikki-instituutti, Kaustinen, Finland. (1988) A Guide to Five-String Kantele Playing. (2001) Intercultural contact and the evolution of the Baltic psaltery, Journal of Baltic Studies 32, 209–250. (1998) The Physics of Musical Instruments. (2002) Acoustical analysis and model-based sound synthesis of the kantele, Journal of the Acoustical Society of America 112, 1681–1691.įletcher, N.H. Erkut, C., Karjalainen, M., Huang, P., and Vðlimðki, V.
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