Nontechnical references in ancient literature, especially the works of poets and philosophers, shed some light on the practice of music, its social roles, and perceived aesthetic qualities. In general, our knowledge of Greek music comes from fragmentary musical scores, some remains of instruments (mostly reed-blown pipes), inscriptions, and depictions in Greek sculpture and vase painting. Very little is known of the precise sound of the kithara in performance. It was generally a professional musician’s instrument reserved for public concerts, choral performances, and competitions. Although similar in form to the tortoiseshell Greek lyra, which any well-bred Greek citizen might play, the kithara with its large soundbox was more suited for virtuoso display. By the end of the seventh century B.C., the kithara found a major niche in Greek public performances. The musician could regulate pitch by the tension and, perhaps, thickness of the strings. During performances, the instrument rested against the musician’s shoulder, and was supported by a sling that wrapped around the left wrist. The musician (kitharode), who usually stood while playing, made music by stroking the plektron (pick) in his right hand across the strings, sounding all those not damped with his left fingers. Strings of gut or sinew were stretched from a holder at the base of the instrument over a bridge to the crossbar that joined the two sidepieces. The kithara, an instrument of the lyre family, had seven strings of equal length and a solidly built, wooden body, usually with a flat base.
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