page_title: Zither
section_title: History and development
hierarchical_section_title: Zither / History and development
context_page_description: Zither is a class of stringed instruments.
  The word Zither is a German rendering of the Greek word cithara, from which the modern word "guitar" also derives. Historically, it has been applied to any instrument of the cittern family, or to an instrument consisting of many strings stretched across a thin, flat body – similar to a psaltery.
  Zithers are played by strumming or plucking the strings, either with the fingers, 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. Like a guitar or lute, a zither's body serves as a resonating chamber, but, unlike guitars and lutes, a zither lacks a distinctly separate neck assembly. The number of strings varies, from one to more than fifty.
  In modern common usage the term "zither" refers to three specific instruments: the concert zither, its variant the Alpine zither, and the chord zither. Concert and Alpine zithers are traditionally found in Slovenia, Austria, Hungary, France, north-western Croatia, the southern regions of Germany, alpine Europe, Poland, the Czech Republic, Slovakia, Russia, Ukraine and Belarus.
context_section_description: Although there is evidence that a kanun was found in Mycenaean Greece, dating back to 1600 BC, the earliest known surviving instrument of the zither family is a Chinese guqin, a fretless instrument, found in the tomb of Marquis Yi of Zeng dating from 433 BC. Similar instruments along this design were developed over the following centuries, for example: the Japanese silk strung koto, the siter of Indonesian gamelans; the Qānūn (or Kanun) of Greece and the Middle East; the valiha, a tube zither of Madagascar; and many others. Increasing interest in 'world music' has brought wider recognition to these other zither family members, both ancient and modern. Many of these instruments have been sampled electronically, and are available in instrument banks for music synthesizers.
  In Europe and other more northern and western regions, early zithers were more similar to the modern mountain dulcimer, having long, usually rectangular, sound boxes, with one or more melody strings and several unfretted drone strings. Some of these employed movable bridges similar to the Japanese koto, used for retuning the drone strings. The Alpine Scheitholt furnishes an example of this older type of European zither. By the late 18th century, two principal varieties of European concert zither had developed, known as the Salzburg zither (with a rounded side away from the player), and the Mittenwald zither (with both sides rounded). Both styles are still found in concert zithers today, although the Salzburg style has become by far the most common.
  The zither became a popular folk music instrument in Bavaria and Austria and, at the beginning of the 19th century, was known as a Volkszither.
  Viennese zitherist Johann Petzmayer (1803–1884) became one of the outstanding virtuosi on these early instruments and is credited with making the zither a household instrument.
  In 1838, Nikolaus Weigel of Munich conceived the idea of adopting fixed bridges, adding additional strings, tuning them in the cycle of fifths, and chromatically fretting the fingerboard – effectively converting a rather crude folk instrument into the concert zither. His ideas were not, however, widely accepted until 1862, when luthier Max Amberger of Munich fabricated a new zither based on Weigel's design. At this point the zither had reached something very close to its modern concert form. Within a relatively short time the new design had largely replaced the old Volkszither (though still called by the same name among folk musicians) throughout central Europe, particularly in the Alpine countries. As the 'concert zither' it also began to attract the attention of serious composers, a number of whom, themselves, became concert zither virtuosi. These composers, called the "Altmeister", flourished between 1870 and 1910. And no less a composer than Johann Strauss II gave the instrument a prominent solo in one of his most famous waltzes, "Tales from the Vienna Woods".
  The zither went through two periods of great popularity in the United States. The first of these was in the late 19th through early 20th century, when it was greatly in vogue as a parlour instrument in many homes. During that period, a number of U.S.-based instrument manufacturers, many of them founded by, or staffed with, European (and especially German and Austrian) luthiers, were producing concert zithers. Chord zithers were often marketed under confusing brand names like 'guitar zither' or 'mandoline zither'. The recently rediscovered recordings of the gospel singer Washington Phillips, who used two instruments simultaneously, have revealed the virtuosic capability of the chord zither to modern musicians seeking to revive it. By the 1920s, this popularity had begun to wane, as other string instruments (notably guitars) increased in popularity along with the new fashion for jazz music.
  In the 1950s, interest in zithers resurfaced due in great measure to the success of the 1949 British film noir The Third Man. The soundtrack music for the film, which featured only a concert zither (no other instruments) – was performed by the Viennes
caption: Chinese Guqin with seven strings
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