![]() Sutton Hoo Lyre replica, British Museum | |
String instrument | |
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Other names |
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Hornbostel–Sachs classification | 321.21 (Yoke lutes. Composite chordophone in which the strings run in a plane parallel to the sound table, with a yoke (a cross-bar and two arms) that lies lying in the same plane as the sound-table, with a bowl-shaped resonator) |
Developed | descendant of the ancient lyre which originated in western Asia; cousin to Asian instruments adopted in Ancient Egypt and Ancient Greece[15] |
Related instruments | |
Plucked lyres: Bowed lyres: |
Rotte or rotta is a historical name for the Germanic lyre, used in northwestern Europe in the early medieval period (circa 450 A.D.) into the 13th century.[15] The plucked variants declined in the medieval era (spreading less often in manuscripts in the 13th century), while bowed variants have survived into modern times.[15]
Non-Greek or Roman lyres were used in pre-Christian Europe as early as the 6th century B.C. by the Hallstatt culture, by Celtic peoples as early as the 1st century B.C., and by Germanic peoples.[15] They were played in Anglo-Saxon England, and more widely, in Germanic regions of northwestern Europe. Their existence was recorded in the Scandinavian and Old-English story Beowulf, set in pre-Christian times (5th-6th century A.D.) and written or retold by a Christian scribe about 975 A.D.[21][22] The Germanic lyre has been thought to be a descendant of the ancient lyre which originated in western Asia.[15] That same instrument was adopted in Ancient Egypt and also by the Ancient Greeks as the cithara.[15] The rotte is shaped differently than these, however, and discoveries from further east has led to the possibility that it arrived with invading tribes.[23]
The oldest rotte found in England dates possibly before 450 AD and the most recent dates to the 10th century.[24] The Germanic lyre was depicted in manuscript illuminations[25][26][27] and mentioned in Anglo-Saxon literature and poetry (as the hearpe).[3][28][21] Despite this, knowledge of the instrument was largely forgotten, and it was confused with the later medieval harp.[3] Then in the 19th century, two lyres (Oberflacht 84 and 37) were found in cemetery excavations in southwest Germany, giving concrete examples of the Germanic lyre's existence.[29] These discoveries, followed in 1939 by the archaeological excavation at Sutton Hoo and the correct reconstruction of the Sutton Hoo instrument (as a lyre, not a harp) in 1970, brought about the realization that the lyre was "the typical early Germanic stringed instrument."[30][31]
Differing from the lyres of the Mediterranean antiquity, Germanic lyres are characterised by a long, shallow and broadly rectangular shape, with a hollow soundbox curving at the base, and two hollow arms connected across the top by an integrated crossbar or ‘yoke’. From northwestern Europe—particularly from England and Germany—an ever-growing number of wooden lyres have been excavated from warrior graves of the first millennium A.D.
"Evidence of manuscript illustrations and the writings of early theorists suggest that, in Anglo-Saxon and early medieval times...the words hearpe, rotte and cithara were all used to describe the same instrument, or type of instrument."[15] The direction of the spread of the instrument is uncertain. The instrument may have developed in several locations.[15] Other possibilities include an Irish instrument that spread eastwards to Germany, or an instrument of central Europe that spread northwest.[15] Across Europe, lyres were named with etymologically related variations: crwth, cruit, crot (Celtic); rote and crowd (English); rota, rotta, rote, rotte (French, English, German, Provencal).[15]
The instrument disappeared in most of Europe, surviving in Scandinavia, and elsewhere remembered in medieval images and in literature.[3] In 1774 it was featured in a work of religious musical scholarship by Martin Gerbert, who found an illustration in a 12th century A.D. manuscript and labeled the instrument the Cythara Teutonica.[2] After archeological finds, the instrument has been recreated and studied anew, labeled Germanic round-lyre, Anglo-Saxon lyre, Germanic lyre and Viking lyre today.[32][1][33] Historical names include rotta (and variations rota, rotte, rote, Hörpu (Old Norse) and hearpe (Old-English).[3][4][15]
From its shape this lyre must, to differentiate it from the antique form, be characterized as the round lyre. [note: Specific date this book was published in the early 20th century is not certain. On page 103, the author refers to his original Danish work from 1915 as if that were in the past.]
The old English name for the lyre was hearpe, and until the tenth century or so this always meant the lyre, but from then on it meant the harp...Beowulf and his Anglo-Saxon contemporaries were said to play the harp – they didn't, they played the lyre.
Harpa...believed to have been a generic name for stringed instruments
Hearpe...harp
MarcuseChrotta
was invoked but never defined (see the help page).
cruitire, a player of a lyre or a harp...Irish sources provide many names for musical instruments. Primary among them are cruit or crot, and timpan, both metal-strung instruments. In its earliest period a cruit was probably a lyre...The plucked version was sounded with the fingernails, as were the cruit and later Irish harps.
OIrish syn. of cruit
crotstringedinstruments
was invoked but never defined (see the help page).
MEngl
Chrotta, Lat. equivalent of cruit
one of the most widely used plucked instruments in north-western Europe from pre-Christian times to medieval times
OFr. and MEngl. form of the word cruit.
in Med. Europe it denoted a chordophone...glossed in the 10th c. as hruozza, the cruit
[note: mentioned in Beowulf, lines 89, 2107, 2262, 2458, 3023]
hillberg10-22
was invoked but never defined (see the help page).
þæt hīe ealle sceolden þurh endebyrdnesse be hearpan singan — þonne hē geseah þā hearpan him nēalǣcan, þonne ārās hē for scome from þǣm symble, and hām ēode tō his hūse. [translation from Old English, Caedmon's Hymn: they all in succession should sing to the harp — when he saw the harp draw near to him, he arose from the feast out of shame]
By contrast, the Viking lyre is played with exemplary conviction and scholarly awareness by Graeme Lawson on the first recording reviewed here.
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