A dictionary of Greek and Roman . i(eiv, it appears that originallythere was very little or no difference between thetwo instruments, that is to say, the instrumentformerly used was a cithara in the later sense ofthe word. The instruments which Homer mentions as usedto accompany songs are the <£ and Kidapis.(II. i. 603, Od. viii 248 and 261.) Now thatthe (popjxiy^ and the Kidapis were the same instru-ment, appears to be clear from the expression <pop-fxiyyi KiQapi&iv, and niQapi (popni^eiv. (Od. i. 153,&c.) The lyra is also called x*^vsi or X€^VV,and in Latin testud
A dictionary of Greek and Roman . i(eiv, it appears that originallythere was very little or no difference between thetwo instruments, that is to say, the instrumentformerly used was a cithara in the later sense ofthe word. The instruments which Homer mentions as usedto accompany songs are the <£ and Kidapis.(II. i. 603, Od. viii 248 and 261.) Now thatthe (popjxiy^ and the Kidapis were the same instru-ment, appears to be clear from the expression <pop-fxiyyi KiQapi&iv, and niQapi (popni^eiv. (Od. i. 153,&c.) The lyra is also called x*^vsi or X€^VV,and in Latin testudo, because it was made of atortoise-shell. The obscurity Avhich hangs over the originalnumber of strings of the lyre, is somewhat removedby the statement made by several ancient writers,that Terpander of Antissa (about b. c. 650) addedto the original number of four strings three newones, and thus changed the tetrachord into a hepta-chord. (Euclid. Introd. Harm. p. 19 ; Strab. 618 ; Clem. Alex. p. 814, ed. Potter),. LYRA. though it cannot be denied that there existed lyres-with only three strings. (Blanchini, De TribusGeneribus Instrumentorum Musicae Veterum Or-ganicae Dissertation tab. iv.) The preceding re-presentation of a tetrachord and the following oneof a heptachord are both taken from the work ofBlanchini. The heptachord introduced by Terpander hence-forth continued to be most commonly used by theGreeks as -well as subsequently by the Romans,though in the course of time many additions andimprovements weremade which are de-scribed below. In theancient tetrachordthe two extremestrings stood to eachother in the relationof a fourth (Sice Tetr-adpwv), the lowerstring made threevibrations in thetime that the upperone made four. Inthe most ancientarrangement of thescale, which wascalled the diatonic,the two middlestrings were strungin such a manner,that the three in-tervals between thefour strings produc-ed twice a wholetone, and one semi-tone. Terpan
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