Lira |

Greek λύρα, lat. lyra

1) Ancient Greek plucked string music. tool. The body is flat, rounded; originally made from tortoise shell and supplied with a membrane from bull skin, later it was made entirely of wood. On the sides of the body there are two curved racks (made of antelope horns or wood) with a crossbar, to which 7-11 strings were attached. Tuning on a 5-step scale. When playing, L. was held vertically or obliquely; with the fingers of the left hand they played the melody, and at the end of the stanza they played the plectrum along the strings. The game on the L. was accompanied by the performance of the production. epic and lyric. poetry (the emergence of the literary term “lyrics” is associated with L.). In contrast to the Dionysian aulos, L. was an Apollonian instrument. The kithara (kitara) was a further stage in the development of L.. On Wednesday. century and later antique. L. did not meet.

2) Bowed single-stringed L. Mentioned in literature from the 8th-9th centuries, the last images are from the 13th century. The body is pear-shaped, with two crescent-shaped holes.

3) Kolesnaya L. – a stringed instrument. The body is wooden, deep, boat- or figure-eight-shaped with a shell, ending with a head, often with a curl. Inside the case, a wheel rubbed with resin or rosin is reinforced, rotated with a handle. Through a hole in the soundboard, it protrudes outward, touching the strings, making them sound as it rotates. The number of strings is different, the middle of them, melodic, passes through a box with a mechanism for changing the pitch. In the 12th century rotating tangents were used to shorten the string, from the 13th century. – push. Range – originally diatonic. gamma in the volume of an octave, from the 18th century. – chromatic. in the amount of 2 octaves. To the right and left of melodic. there are two accompanying bourdon strings, usually tuned in fifths or fourths. Under the title organistrum wheel L. was widespread in cf. century. In the 10th century differed in large size; sometimes it was played by two performers. Under decomp. name wheeled L. was used by many. peoples of Europe and the territory of the USSR. It has been known in Russia since the 17th century. It was played by itinerant musicians and passers-by kaliks (in Ukraine it is called rela, ryla; in Belarus – lera). In the owls At the same time, an improved lyre was created with a bayan keyboard and 9 strings, with frets on the fretboard (a type of flat domra), and a family of lyres (soprano, tenor, baritone) was constructed. Used in national orchestras.

4) The stringed string instrument that originated in Italy in the 16th and 17th centuries. In appearance (the corners of the body, the convex lower soundboard, the head in the form of a curl), it somewhat resembles a violin. There were L. da braccio (soprano), lirone da braccio (alto), L. da gamba (baritone), lirone perfetta (bass). Lira and lirone da braccio each had 5 playing strings (and one or two bourdon ones), L. da gamba (also called lirone, lira imperfetta) 9-13, lirone perfetta (other names – archiviolat L., L. perfetta ) up to 10-14.

5) Guitar-L. – a kind of guitar with a body resembling other Greek. L. When playing, she was in a vertical position (on legs or on a supporting plane). To the right and left of the neck there are “horns”, which are either a continuation of the body or a decorative ornament. Guitar-L designed in France in the 18th century. It was distributed in Western countries. Europe and in Russia until the 30s. 19th century

6) Cavalry L. – metallophone: a set of metallic. plates suspended from metal. the frame, which has the shape of L., is decorated with a ponytail. They play metal. mallet. Cavalry L. was intended for cavalry brass bands.

7) Detail of the piano – a wooden frame, often in the form of antique. L. Used to attach the pedal.

8) In a figurative sense – the emblem or symbol of the suit. Used in the Soviet Army to distinguish between soldiers and foremen of the music platoon.

References: Musical culture of the ancient world. Sat. Art., L., 1937; Struve B., The process of formation of viols and violins, M., 1959; Modr A., ​​Musical instruments, trans. from Czech., M., 1959.

G. I. Blagodatov