the * Lyre 2.0* Project

Re-Inventing an Ancient Greek artifact and Re-Introducing it as a product to the World Market

by Nikolaos Koumartzis “So then, I will give you this lyre, glorious son of Zeus…”

Homeric Hymn to Hermes, line 490

Get to know the project in just 2 minutes: http://vimeo.com/user24775202/lyre2 (password; lyra20ihu) The “Chelys” version of the “Lyre 2.0” final product. Abstract

n this dissertation thesis, the author presents a design project that its scope is to reconstruct different versions of the ancient music instrument known as “lyre”, based on the study of ancient sources and current research papers. The goal is reintroduce the “Lyre of IHermes” (or the “Lyre of Apollo” if you prefer) to the global market of professional musicians, replica’s collectors and admirers of the ancient Greek civilization. By combining expert’s experience and latest technology in different fields –such as traditional luthiers,1 3d scanning and printing equipment (provided by the International Hellenic University, Thessaloniki), 3d drawing software packages, audio engineers and researchers, an anechoic chamber at the Electronic Media Lab (Aristotle University of Thessaloniki) etc.–, the author explains how the first lyres were actually being produced and how they were tested so as to scientifically define their sound quality. Last, all the presented research data and theories were applied in practice, as among the deliverables of this design project are actual and top-quality different versions of the lyre: the “Chelys Lyre 2.0” and the “Barbiton Lyre 2.0”.

1 A luthier is someone that constructs music stringed music instruments (i.e. music instruments that use strings for producing sound).

4 Acknowledgements

proper research in general -and in a MSc level even more- cannot be conducted based solely on the researcher’s skills and knowledge. In order to be of some help to future researchers, its author has to discuss, be advised, or even be corrected by experts from various Afields related to his thesis’ topic. This is the case with this MSc dissertation too. Regarding the practical and hands-on experience necessary for such a project, all the credits must go to Anastasios Koumartzis, luthier and author of two related books in the field. His willing to share his experience and knowledge contradicts the norm of the traditional luthiers in Greece. What’s more, his fellow co-worker and carpenter Ilias Kouroutzis (sharing the same workshop) brought to our design team his carpentry experience and a creative way of thinking while processing the wood. Special thanks must go to Mr. Fotiadis, who showed the needed enthusiasm about this topic. His working experience and innovative way of thinking was an inspiration for me, and helped me bring this project to its very end: the launch of the product for the global market. The aid of Nikos Grigoriadis, my colleague at this MSc course, was of great importance for the successful 3D design of the product. Thanks to his valuable working experience as a 3D Product Designer, the design stage of this project proved to be a fun and creative process. What’s more, Dr. George Kalliris and PhD Candidate Rigas Kotsakis (of the Electronic Media Lab of the Department of Journalism and Mass Media, at the Aristotle University of Thessaloniki) helped me find the “sound properties” of the produced music instruments and justify (in a scientific manner) their top-quality. Furthermore, George Ioannidis (author and editor, specializing among others to the study of ancient Greek documents) was more than helpful in the initial steps of this research, as he proposed to me several sources to start with. Minas Papageorgiou, Editor in Chief at Eleftheros Tipos newspaper, helped me to “spread the word” of the “Lyre 2.0” project in Greece and abroad. Additionaly, Constantinos Moisiadis must be mentioned for accepting our invitation to become one of the “Lyre 2.0” players for the product’s promotional campaign. The audio that is used at the accompanying video is featuring him playing the song “Symmalos” (in the Phrygian ancient music scale). Last, all the theoretical part of this dissertation wouldn’t have any substantial value if the author wasn’t able to apply it by launching the actual product for the global market. For this, the rest of the team of the newly founded company called “Anastasios O.E.” must be thanked for letting me (as a co-founder) thoroughly research and present our innovative way of working, even if this dissertation might “uncover” some of our trade secrets to future competitors.

5 Table of Contents

4 Abstract 5 Acknowledgements

8 1. Introduction 8 1.1 A General View 9 1.2 Motivation 9 1.3 Aims and Objectives 10 1.4 Research Methods 11 1.5 Structure of this thesis

12 2. The Market (Global Music Instrument Industry) 12 2.1 Global Music Instrument Industry and the Financial Crisis worldwide 13 2.2 Music Instruments and Technology 14 2.3 Conclusions

15 3. The Lyre as part of the Antiquity (Literature review) 15 3.1 The Ancient Lyre 16 3.2 Hermes & the Invention of the Lyre 17 3.3 Visual Analysis of the Amphorae’s Representations 20 3.4 Specifications of the ancient Lyre

6 23 4. Designing the “Lyre 2.0” 23 4.1 From the Ancient Instrument to the “Lyre 2.0” (limitations and objectives) 24 4.2 Digitizing a Tortoise Shell through 3d Scanning and Reverse- Engineering 25 4.2.1 Preparing the tortoise shell for 3d Scanning 26 4.2.2 The 3d Scanning and post-scanning processes 28 4.3 Designing the lyre in 3D 33 4.4 Conclusions

34 5. Producing the “Lyre 2.0” 34 5.1 Choosing the right materials 35 5.2 From the tortoise shell to the strings (a step-by-step description) 42 5.3 The final product (photographs) 42 5.3.1 The “Chelys” lyre 45 5.3.2 The “Barbiton” lyre

48 6. Testing the “Lyre 2.0” in SoundLabs 48 6.1 Inside an anechoic chamber 50 6.2 The Research Hypothesis 50 6.3 The Audio Properties of “Chelys Lyre 2.0” and “Barbiton Lyre 2.0” 52 6.4 Future work

53 7. Conclusions and Further Research

55 Selected Sources & References 58 Appendix 1. “Lyre 2.0”s Production Drawings 62 Appendix 2. Audio Properties of “Chelys” & “Barbiton” lyre

7 Chapter 1. Introduction

1.1 A General View “Take my lyre,” he said, “which to those who can deftly use it will discourse all sweet things; but to those who touch it, not knowing how to draw forth its speech, it will babble strange nonsense and rave with uncertain meanings.”

Homeric Hymn to Hermes, lines 482-490

n this design project, the author proposes a unique approach that can lead from the ancient Greek literature and antique black- figure amphorae’s representations (also known as melanomorpha) straight to the reconstruction of modern top-quality replicas of one Iof the first sophisticated musical instruments of the human kind: the Lyre of Hermes (or the Lyre of Apollo, if you prefer). Through thorough literature review of ancient Greek documents, observation of amphorae’s relevant representations, 3d scanning of tortoise shells, reverse engineering of the scanned files and 3d design using one of the most advance CAD software packages, the author managed to end up with detailed production drawings for a modern version of the ancient music instrument. Then, by using only materials available in antiquity (such as specific kinds of wood, tortoise shells etc.) and modern carpentry technology, the author aimed to end up with a high-quality music instrument, suited for use by today’s professional musicians. In order to have such an outcome, practical experience from traditional luthiers was used. Even more, the first produced lyres were tested in a specialized unechoic chamber (based in Aristotle University of Thessaloniki), in order to define their sound properties and scientifically justify their top-quality as music instruments.

8 At the end, a top-quality product was produced using methods that can lead to low-cost mass production. The final product was decided to be called “Lyre 2.0”, with the “2.0” referring to an upgraded version of the ancient music instrument (and using the semiology from the well-known term “Web 2.0” coined by D. DiNucci in 1999 - O’Reilly 2004). Last, but certainly not least, possible future work is being discussed.

1.2 Motivation Coming from a musical family and spending many years studying and playing the piano, music (in general) always played a key role in the author’s personal development. Moreover, he came in touch with the art of lutherie2 years ago, when his father start to manufacture traditional Greek musical instruments such as baglamas, bouzouki, tzouras etc. So, it was quite expected the MSc studies in Strategic Product Design to lead the author to approach the musical instruments as products with great added value. The “Lyre 2.0” project is a combination of all the above along with his personal affection for sophisticated artifacts from the ancient world and how they can be reconstructed and used today in their initial or similar context. The reason that the “lyre” was actually chosen to play a key role at this project is quite simple: it is among the first sophisticated musical instruments mentioned in the ancient Greek literature, linked to many parts of the Greek Mythology and theology. The ultimate goal of the author is to re-introduce ancient Greek instruments to the global market. Our starting point is the “Lyre of Hermes”, but the prospects are endless…

1.3 Aims and Objectives By using different “Strategic Product Design” techniques in different levels and directions, this dissertation thesis aims to re-introduce ancient Greek instruments to the global market as top-quality products (Koumartzis 2011). Conclusively, the primary objectives of this design project are: 1. To evaluate the current music instrument market worldwide and decide what are the opportunities for a start-up small business are. 2. To define the specifications of the “lyre” in the Ancient world:

2 Lutherie is the craft of creating string instruments. The word “luthier” comes from the French word “luth”, meaning “lute”. 9 dimensions, materials, number of its parts, function of each part, and limitations during antiquity. 3. To define the specifications of the “Lyre 2.0” in the modern world, in order to have the same musical objectives as the ancient luthiers, but without the limitations they were facing. 4. To manufacture the “Lyre 2.0” in a way that it can be mass- produced for a niche but global market. 5. To justify the sound quality of the produced instruments. 6. To evolve the re-constructed instrument to a sustainable product in terms of financial feasibility, right pricing strategy, highly automated and low-cost manufacturing methods, promotion strategy etc. 7. To test the design project and the product in the real market.

1.4 Research Methods Seven primary objectives have to be met, in order for this project to be considered successful, and for all of them thorough research and study is essential. Regarding the evaluation of the current music instrument global market, recent market reports were found and studied leading to valuable conclusions. Concerning the specifications of the ancient “lyre”, review of the ancient Greek literature was done along with observation of amphorae’s related representations. Moreover, regarding the materials in use at the ancient world, existing archaelogical finds led us to safe conclusions. In order to define the specifications of “Lyre 2.0” as a modern music instrument, interviews with professional musicians were conducted. Regarding its production, the experience of both highly- skilled carpenters and traditional luthiers was proved quite helpful. Concerning the actual production of the “Lyre 2.0”, a month was spent working at a well-equiped carpentry workshop. The first produced lyres were then tested in a specialized lab based in Aristotle University of Thessaloniki, in order to justify the top-quality of the product as a music instrument. Last, but definitely not least, the best way of testing a theoretical design project is by practically introducing it to the real market. For this reason, a small company was founded in January 2014 and began

10 its activities with the production of the first 100 copies of the “Lyre 2.0” instrument for the global market. The production will be completed at the end of February, when the “Lyre 2.0” will launch with an impressive Internet-based promotional campaign.

1.5 Structure of this thesis In this dissertation thesis, the author starts with a market research in the global music instrument industry, in order to define the potentials of a start-up company based in Greece (chapter 2). Secondly, a literature review was done focusing on ancient Greek documents, along with visual analysis of surviving amphorae’s representations of the ancient Greek lyre (chapter 3). The specifications of the ancient music instruments were then defined, before moving on the next step. Then, the specifications of the modern “Lyre 2.0” were defined (chapter 4), taking into consideration the data presented in chapter 3, interviews with modern professional musicians, and manufacturing limitations that existed in antiquity but not today. A raw handwritten drawing is presented, specifying the outlines of the product. Subsequently, the design process is described in detail (chapter 4), starting with the 3d scanning of a real tortoise shell and how it was reverse-engineered in order to end up with a digital representation of it. Then, the latter was used to design one by one every part of the “Lyre 2.0” in a CAD software (SolidWorks 2012), a process that provided us detailed production drawings of the instrument. Renderings of the final CAD model are being presented too. In chapter 5, the author describes the actual manufacturing process that was followed, with the help of detailed photographs. At the end of the chapter, the actual product is being presented through photographs. In chapter 6, the author discusses the experiments conducted at the Electronic Media Lab of Department of Journalism and Mass Media, at the Aristotle University of Thessaloniki. . The methodoloy is being presented in brief, along with the results. Last, in the chapter 7 the future actions for the “Lyre 2.0” project are being discussed, along with suggestions for future researches.

11 Chapter 2. The Market (Global Music Instrument Industry)

“Then glorious Hermes went hurriedly to his cradle, wrapping his swaddling clothes about his shoulders as though he were a feeble babe, and lay playing with the covering about his knees; but at his left hand he kept close his sweet lyre.” Homeric Hymn to Hermes, lines 138-154

his design project began with conducting market research on the global music instrument industry, in which the final product will test its business feasibility and sustainability. The current chapter cannot be extensive due to the nature of this Tthesis, but anyone interested can find further reading material at the “References and Related Sources” section. The most important in chapter 2 is to define if such a business model can be financially sustainable. As you will read below, a quick overview of the industry (from 2008 and onwards) is enough to justify the potentials of the “Lyre 2.0” product in the global market.

2.1 Global Music Instrument Industry and the Financial Crisis worldwide The Global Music Instrument Industry (GMII from now on) is an ever- growing industry according to latest research data. More specific, speaking for stringed music instruments,3 according to Mainstream Management (2010) “This category posted its largest

3 Also reffered as “Strings” and includes fretted strings, acoustic and electric gui- tars, traditional Greek instruments such as baglamas, bouzouki etc.

12 sales decline in over a decade as the total wholesale value of string instrument sales slipped 7.2% to $825 million in 2008. The declines were fairly evenly spread out with acoustic guitar sales off 8.2% and electrics off 5.9%.” It is important to state at this point that the only companies that experienced growth during the declining of the sector were mainly the smaller, more agile and privately owned traded companies. Despite other huge industries though, the forecast for the GMII is quite optimistic with 2011 coming back on the development track with 6% of growth, according to the same source. The latter was confirmed, as more recent market’s forecasts proved even more optimistic. For example, according to Infiniti Research Limited (2013) the GMII is going to grow farther at a CAGR of 2.64 percent over the period 2012-2016.4 The same source supports that one of the key factors contributing to this market growth is the increasingly disposable income of consumers in the emerging economies (the source states that “Consumers can therefore afford to spend money on music instruments”), along with an increase in online retailing. What’s more, GMII isn’t threatened by low-end products, as both the low-cost Asian products and the top-quality instruments (manufactured in Europe or in U.S.A.) have their distinctive market (Mainstream Management, 2010).

2.2 Music Instruments and Technology Despite the fact that lutherie is a tradition-driven sector in Greece (where craftsmanship still plays a key role), the global music instrument industry clearly follows a different path. According to Daedal Research (2013), GMII is highly innovative and technology oriented. Among others, the same source states that “Driven by high technology and online retailing trend, music instruments are now more cost effective.” Globally, there are more than 600 manufacturers and the consumer behaviour towards specific instruments is highly influenced by “the public taste in musical styles and cultural and social aspect of the specific geography”.

4 CAGR stands for «Compounded Annual Growth Rate, which is a business/ in- vesting term for the geometric mean that provides a constant rate of return over the time period. (Anson et all, 2010).

13 “The fundamental physical construct of an instrument does not vary from one maker to another. The key differences among high-end and low-end versions of an instrument are the quality of the materials and level of craftsmanship. Because most instruments contain many intricate parts, labor content is high.” Sector Report 2010, MainStream Management

2.3 Conclusions In brief, here is a list of the key-points for the GMII: - 2008-2010 was a period of revenue declining in the sector. Even then, the only companies that managed to grow their revenue were the small and privately owned companies. - Sector’s forecasts are optimistic for the period 2012-2016. - Increase in online retailing. - Low-cost Asian products aren’t a threat for the industry.

In conclusion, GMII is definitely a sector with potential for a small start- up company, especially if it can use the latest technology for both manufacturing and promotional purposes. The increase in online retailing gives the chance to small companies for an increasing income without the need for expensive promotional campaigns.

14 Chapter 3. The Lyre as part of the Antiquity (Literature review)

fter checking the entry-level opportunities of the music in- strument industry, next step is to figure out all the needed details for constructing top-quality replicas of the ancient music instrument in question. In order to be able to do that, a Athorough literature review has to be conducted in historical and mytho- logical sources (sub-section 3.2), along with a careful visual analysis of the amphorae’s related representations (sub-section 3.3). Based on the data that were collected, the author was able to define the specifications of the ancient music instrument. But, before any kind of study can be conducted, a brief introduction of the music instrument in question has to be made (sub-section 3.1).

3.1 The Ancient Lyre “The very crafty, the super-subtle Hermes; […] Born in the morning, he played the lyre by afternoon, and by evening had stolen the cattle of the Archer Apollo.” Homeric Hymn to Hermes, lines 22-33

There is almost no doubt that many Eastern nations used similar in- struments long before the Greeks did. The lyre came to the ancient Greeks from Minor Asia (Wilkinson, 2013), even if according to Greek my- thology it was god Hermes who invented the instrument. In brief, it is a stringed music instrument and for its construction a turtoise-shell was used as a soundbox (later, wooden soundbox were introduced too), most of its parts were made from wood, a few from bones and ship-guts were used for the strings (Creese, 1997). Lyre was 15 among the most popular instruments in antiquity, it was used to teach young people and it was admired because it was associated with the worship of God Apollo (Georgiou, 2007). There were many different ver- sions of the instrument such as chelys, barbiton, epigonion, phormix etc. The “Lyre 2.0” product is based on the chelys and barbiton version. One of the most informative sources regarding the “lyre” is the “Hymn to Hermes” by Homer (580 lines in length),5 written between the 8th and the 12th century B.C.6 It recites the story of a divine boy, who was born and grew up instantly, and it was the twelfth (and last one) of the im- mortals of Mt. Olympus. Among other things, he was the inventor of the first lyre, the one known as “chelys” or the “Lyre of the Hermes”. This is the music instrument upon which “Lyre 2.0” design is being based.

3.2 Hermes & the Invention of the Lyre There are numerous different versions of the same myth. One of them recounts the invention of the lyre by Hermes (by Pseudo-Apollodorus, Pausanias, Philostratus the Elder, Pseudo-Hyginus, Statius etc.),7 while another, the oldest one, is the “Hymn to Hermes”. Below are the lines that helped in understanding the way the lyre was constructed:

“[…] as he stepped over the threshold of the high-roofed cave [of Maia on Mount Kyllene], he found a tortoise there and gained endless delight. [...] Thus speaking, he took up the tortoise in both hands and went back into the house carrying his charming toy. Then he cut off its limbs and scooped out the marrow of the mountain-tortoise with a scoop of grey iron. As a swift thought darts through the heart of a man when throng- ing cares haunt him, or as bright glances flash from the eye, so glori- ous (kydimos) Hermes planned both thought and deed at once. He cut stalks of reed to measure and fixed them, fastening their ends across the back and through the shell of the tortoise, and then stretched ox hide all over it by his skill. Also he put in the horns and fitted a cross-

5 Quotes used in the text are taken from the translation of Apostolos N. Athanas- sakis, The Homeric Hymns, Baltimore, Johns Hopkins University Press, 1976. 6 Herodotus states that Homer lived 400 years before his time, meaning some- where between 850 B.C. Other ancient sources places him in the early 12th cen- tury, around the supposed time of the Trojan war (Graziosi 2002). 7 You can learn more about the different versions of the myth by reading the fol- lowing bibliography: a. Pseudo-Apollodorus, Bibliotheca 3. 113 (Greek mythographer, 2nd century A.D.), b. Pausanias, Description of Greece 2. 19. 7 (Greek travelogue, 2nd century A.D.), c. Pseudo-Hyginus, Astronomica 2. 7, d. Statius, Silvae 2. 7. 6 (Ro- man poetry, 1st century A.D.) and e. Nonnus, Dionysiaca 41. 339 ff (Greek epic, 5th century A.D.). 16 piece upon the two of them, and stretched seven strings of sheep-gut. But when he had made it he proved each string in turn with the key, as he held the lovely thing. At the touch of his hand it sounded marvellously; and, as he tried it, the god sang sweet random snatches, even as youths bandy taunts at festivals. […] And he took the hollow lyre and laid it in his sacred cradle […]”

More details about the construction of the ancient lyre can be found in the work of Philostratus the Elder, a Greek rhetorian of the 3rd cen- tury. The lines below are part of the work “Imagines” (1.10), translated by Fairbanks, where Philostratus the Elder describes an ancient Greek painting: “Look carefully at the lyre first, to see if it is painted faithfully. The horn is the horn ‘of a leaping goat,’ as the poets say, and it is used by the musician for his lyre and by the bowman for his bow. The horns, you observe, are black and jagged and formidable for attack. All the wood required for the lyre is of boxwood, firm and free from knots--there is no ivory anywhere about the lyre, for men did not yet know wither the elephant or the use they were to make of its tusks. The tortoise-shell is black, but its portrayal is accurate and true to nature in that the surface is covered with irregular circles which touch each other and have yellow eyes; and the lower ends of the strings below the bridge lie close to the shell and are attached to knobs, while between the bridge and the crossbar the strings seem to be without support, this arrangement of the strings being apparently best adapted for keeping them stretched taut on the lyre.”

3.3 Visual Analysis of the Amphorae’s Representations Except the written descriptions already mentioned, we are fortunate to have visual representations of the ancient lyre thanks to the survival of many ancient Greek vases (amphorae) mainly of the 8th to the 5th cen- tury B.C. In order to end up with a first rough sketch of the instrument, a thorough analyze of such representations had to be done. Dozens of representations had to be examined before any conclusion can be extracted. Due to the limited extent of this thesis, only some examples are being presented below.

17 Image 1: Apollo playing the lyre, Interior of kylix. A representation made around 490 B.X. and kept in Delphi, Archaeological Museum.

At the image above, a clean rear-view of the lyre is shown. A tor- toise shell is used as a soundbox, two “arms” come from the latter and are extruded upwards. Near the top of the arms, a “crossbar” is used, placed horizontally. There is a hand-strap attached to the lyre’s left arm. Seven strings are depicted in the image above. Here, the crossbar seems to be attached to the back of the arms.

Image 2: Douris’s ‘school cup’, Museum: Berlin, Staatliche Museen. A bearded barbiton 18 player seated on a stool with a boy playing his; a cup and a lyre hang at the top. In image 2, many features remain the same. Additionally, there is a plectrum for the player attached at the bottom of a lyre’s arm. At this representation, both the front and the rear view of a lyre are shown, something that causes us confusion regarding how the crossbar is attached to the arms. More specific, the representations depict three lyres, two in front-view and one in rear-view (at the right). In the front- view lyres the crossbar seems to be attached to the back of the arms, while in the rear-view lyre it is attached to the front of the arms.

Image 3: Lyre with tortoise shell body (rhyton, 480–470 BC).

This vagueness is present in almost every ancient representation of this kind, as you can see in images 3 and 4. Moreover, the representations reveal three more parts of the instrument: a. “tuning bulges” for tuning the string, b. a “bridge” that rests at the top of the soundbox and c. the “tailpiece” at the bottom of the soundbox where the strings are firmly attached.

19 Image 4: Orpheus in Thrace, Attic vase, c. 440 BC. Orpheus is sitting on a rock, while singing and plucking his lyre. Thracian warriors listen to his song, en- tranced.

3.4 Specifications of the ancient Lyre “Has this marvelous thing been with you from your birth, or did some god or mortal man give it you—a noble gift—and teach you heavenly song? For wonderful is this new-uttered sound I hear, the like of which I vow that no man nor god dwelling on Olympus ever yet has known but you, O thievish son of Maia. What skill is this? What song for desperate cares? What way of song?” Homeric Hymn to Hermes (line 440)

Based on the literature review and the visual analysis of the representations, an initial sketch was made and the specifications of the ancient luthiers were written down.

20 Image 5: A initial sketch of the lyre, in which the “Lyre 2.0” 3d design and pro- duction drawings were based.

First of all, the ancient lyre was consisted of nine different parts:

1. Soundbox (ηχείον in Greek): Made initially from tortoise-shell. Remnants of tortoise shells that were used as lyre soundboxes were found in excavations in many places in Greece and abroad (Arta, Bassae, Argos, Eleusis, Kerkyra and Locri Epizerphyrii in Calabria· Renfrew 1985).

2. Arm (πήχυς in Greek): Made from wood, the arms are extending upwards from the soundbox and are curved.

3. Crossbar (ζυγόν in Greek): Made from wood, connects the two arms.

4. Tuning bulges (κόλλοπες in Greek): They are called “κόλλοπες” by Homer (Odyssey 21.407), and they were used for attaching the strings to the crossbar (it was the “standard” until the end of the 5th

21 century B.C. and perhaps even later, Belis 1985). An ancient “κόλλοψ” was made by a strip of leather to which the string was attached, and then it was being wound around the crossbar (Creese, 1997, p. 103).

5. Strings (χορδαί or νευραί in Greek): According to the Homeric “Hymn to Hermes” (line 51), Hermes constructed his lyre by stretching seven harmonious strings of sheep gut across the instrument.

6. Bridge (μαγάς in Greek): This part was used to transmit the vibrations of the strings to the soundbox. It is almost certain that it was made of wood. According to Hesychius, the bridge was a curved four- sided piece of wood to support the strings. Unfortunately, none of the surviving lyre fragments includes the remains of a bridge.

7. Tailpiece (χορδότονον in Greek): It was used to secure the strings at the bottom of the soundbox. Tailpiece’s remnants were found in the surviving lyre fragments, so we know that it was usually made from a short in length round metal.

8. Hand-strap (τελαμών in Greek): A simple strip of leather that was used by the player to hold still the lyre while playing.

9. Plectrum (πλήκτρον in Greek): A small flat piece (made of bone or wood) used for playing the lyre.

22 Chapter 4. Designing the “Lyre 2.0”

ith an initial product sketch ready and the specifications of the ancient instrument at hand, next step was to pro- ceed with the evaluation of this data, in order to under- stand which of the outlined specifications (subsection W3.4) were part of the objectives of the ancient luthiers and which of them among the limitations they were facing. By defining the final specifications of the new product, the design process began by first digitizing one of the turtoise-shells that were found for this project (subsection 4.2), and then building a 3d model of the lyre using the digitized shell as a basis (subsection 4.3). At the end of this process, the product drawings were generated along with high quality renderings simulating how the final product should look like. Both the drawings and the renderings were of great importance, as from that point and on the product had a clear shape and function for anyone evolved in its production.

4.1 From the Ancient Instrument to the “Lyre 2.0” (limitations and objectives) For the analysis of the ancient instrument’s specifications, the discus- sion began by pointing possible limitations that the ancient luthiers were facing. First of all, in the antiquity there was only a limited selection of natural materials available, from which the ancient luthiers had to choose. No exotic woods with specific properties, no composites or advanced al- loys that are available today. Moreover, the ancient lutherie tools were very limited too in comparison with the advanced technology and tools available in many carpenter’s workshops today. Manufacturing limita- 23 tions certainly played a key role for the ancient luthiers in the shape and the function of the ancient instrument (Creese, 1997). For example, the ancient tuning bulges were a very primitive and im- precise method for tuning strings. Modern tuning keys (used in gui- tars, violins etc.) are by far more precise and user-friendly, while their production is a low-cost process thanks to advanced manufacturing techniques. What’s more, guts strings in antiquity were the only option (Martin 2013 & Georgiou 2007), while today nylon strings are becoming more and more popular as time passes. So, the question is if a modern luthier needs to accept every specifi- cation of the ancient instrument (with no exception), or if she may pro- ceed to some alterations to improve the lyre as a music instrument. The answer cannot be universal, as someone might think. It has mainly to do with the aim of every luthier: Does she want to construct an accu- rate replica of the ancient lyre, or a music instrument that can be used by modern professional musicians? In the case of this design project, the aim that was set from the very beginning was to produce a top-quality music instrument based on the ancient lyre. So, the product had to be as accurate a copy of the ancient lyre as possible, without letting though the limitations of the antiquity to decrease the quality of the product as a music instrument. With that in mind, secondary alterations in the initial design were made, as someone can see below (section 4.3).

4.2 Digitizing a Tortoise Shell through 3d Scanning and Reverse-Engineering In our pursue to produce authentic ancient Greek lyres (with using to- day’s pioneer technologies) and reintroducing them to the global mar- ket as a top-quality instruments of the 21st century, we had to start our designing process by the instrument’s basis: its soundbox. In the case of an ancient lyre, the soundbox was initially a tortoise shell. Due to its nature, a natural tortoise shell cannot be “constructed” and it comes to many shapes and sizes. So, it was considered of great importance to digitize it and create its 3d model. With that in mind, the tortoise shell was scanned using a 3d scanner. As a first step in the whole process, a carefully designed and exe- cuted Reverse Engineering (RE from now on) process had to take place, including its 3D scanning and the needed additional processes in order to be able to handle a 3D representation of a tortoise shell in a para- metric modeling software.

24 4.2.1 Preparing the tortoise shell for 3d Scanning A medium sized tortoise shell was chosen from a collection of more than 90 shells gathered the last 2 years (from turtle carcasses) that were found in the countryside of the Kilkis prefecture. Regarding the 3d scanning technology, the ScanStudio HD Pro software was used along with the NextEngine Desktop 3d Scanner hardware for the RE process of the tortoise shell. Due to the function of the optical system technology used in the cho- sen 3D scanning process (sheet-of-light lasers), the hollow part of the tortoise shell had to be covered before any scanning could occurred. What’s more, by studying the shell geometry two different scanning orientations were chosen for the process, as is shown in image 6.

Image 6: Two orientations of the tortoise shell were chosen for the 3d scan- ning: one horizontal and one vertical.

25 4.2.2 The 3d Scanning and post-scanning processes After these tests and adjustments, the 3D scanning process began (im- age 7).

Image 7: During the 3d scanning process of the turtoise shell.

After the scanning process was completed, the two different scans were trimmed (images 8), before they were aligned in the same coor- dinate system and their produced point clouds were merged (image 9).

Image 8: Trimming the two different scans.

26 Image 9: Aligning the two scans in the shame coordinate system leads to the merge of the scan’s point clouds.

After the proper alignment of the two scans, we had to fuse the scan to completely fill the hollow inner part of the digitized tortoise shell.

Image 10: At the end of the whole process, the 3d model of the turtoise-shell was ready for building the rest of the lyre in a parametric modeling software.

At that point, the design of the first Lyre was ready to begin by using the 3d model of the tortoise shell as a basis. 27 4.3 Designing the lyre in 3D As mentioned in the subsection 4.1, secondary alterations to the origi- nal design were made in order to ensure that the “Lyre 2.0” will be of top-quality as a music instrument. These secondary alterations can be easily recognized below, as the 3d designing process is being dis- cussed. First, we had to create a fully editable 3d model of the tortoise shell using the scanned 3d model as a guide. This was essential in order to be able to handle the lyre’s soundbox in the same way as any other of its parts (image 11).

Image 11: The scanned file is shown at the right,and the regenarated 3d model at the left.

Next, the arms of the lyre were created (one part that was used twice during the assembly of the product), along with the crossbar (image 12).

A closer look to the lyre’s crossbar can reveal the first modification on

28 Image 12: The lyre’s arm is shown at the left, and its crossbar at the right. the ancient lyre’s design: holes are drilled at one side in order seven tuning keys to be placed there. The tuning keys are the second modi- fication, as they are a re-design of the common ones used in violins (shown below at the assembly stage). Next, the lyre’s bridge was designed with seven notches at the top of it, where the strings will rest before they can be secured at the lyre’s tailpiece (image 13). The last modification of the ancient lyre’s design can be found at the

Image 13: The lyre’s tailpiece is shown at the left, and the bridge at the right. 29 tailpiece, which is made of wood (instead of metal) with seven holes drilled from the one side to the other. With all the parts in 3d models, the final stage of the lyre’s assembly was the easiest one. Every part connected to each other perfectly, ending up with the first complete representation (even in the form of a digital 3d model) of “Lyre 2.0” product (images 14-17).

Image 14: The front-view of the “Lyre 2.0” 3d model.

30 Image 15: The rear-view of the “Lyre 2.0” 3d model.

Image 16: Another front-view of the “Lyre 2.0” 3d model. 31 Image 17: A closer look at the upper part of the instrument, where the violin- style tuning keys are shown: a far more accurate tool for tuning a stringed instrument than the ancient tuning bulges.

After the successful assembly of the “Lyre 2.0” 3d model, the produc- tion drawings were generated, full of technical details about the ac- tual instrument’s production. Precision at the point of millimeters can be found for every part of the lyre. For the full production drawings, see Appendix 1.

32 Image 18: A sample of the “Lyre 2.0” production drawings. At this image, the completed instrument is shown in detail.

4.4 Conclusions Designing a product in 3d can be time-consuming, especially if you are aiming to manufacture a product that it was mainly constructed mille- nia ago by craftmen. In “Lyre 2.0” case, this proved of great importance, as it provided us with a visual representation of the final product along with detailed production drawings.

33 Chapter 5. Producing the “Lyre 2.0”

“He took [the lyre] upon his left arm and tried each string in turn with the key, so that it sounded awesomely at his touch. And Phoebus Apol- lo laughed for joy; for the sweet throb of the marvelous music went to his heart, and a soft longing took hold on his soul as he listened.” Homeric Hymn to Hermes, lines 419-423

ith 3d models ready for visual reference and detailed drawings as production guidelines, the final stage be- gan at a fully equipped carpentry workshop. The same workshop is used by a traditional luthier too, focusing on Wproducing well-known Greek instruments such as bouzouki, baglamas etc. All these proved quite helpful, as the workshop was equipped with both modern carpentry and a selection of lutherie tools. Moreover, the professional experience of both the carpenter (spe- cialized in furniture) and the traditional luthier played a key role at the quality of the final product. What’s more, they both assisted in simplify- ing and automating the whole manufacturing process, preparing the “Lyre 2.0” project for its mass production. In this section, the production process will be discussed from the very beginning (the preparation of the tortoise shell to become a proper soundbox) to the very end of it (as is the placement of the lyre’s strings to the instrument).

5.1 Choosing the right materials Before presenting the steps of the “Lyre 2.0” manufacturing, we have to discuss about the materials that were used. As mentioned before, the goal of the designing team was to replicate the ancient instrument as accu- rately as possible, but without letting the limitations of the ancient luthiers to become an obstacle regarding the musical quality of the final product. For this reason, it was decided to use only materials available in the 34 antiquity, and choose specific kinds of woods, ie tortoise shells as the ancient Greek luthiers did: based on current availability. In that manner, for the soundbox a tortoise shell was chosen.8 In ancient Greece, soundboxes were mainly made from shells of three tortoise species native to the Aegean area: Testudo marginata, Testudo graeca and Testudo hermanni. The most common was the T. marginata because of its superior size (Creese 1997, p.88). The ancient luthiers were very flexible regarding the size of the shell, due to the variable nature of the material. For the top of the soundbox, cowhide leather was used. Concerning the arms, the crossbar and the bridge, the wood “maple” was chosen for a couple of reasons: it can be found today in many parts of Greece, and it is a classic “musical” wood (meaning that when vibrating, it can produce a great quality musical timbre9). For the tuning keys and the tailpiece, the wood ebony (ἔβενος in ancient Greek) was chosen, as these parts need to be durable enough to withstand the strings’ constant pressure (ebony has a density of 1.1 - 1.3 x 103 kg/m3).10 What’s more, cow bone was used for secondary parts of the music instrument (for example, at the point were the strings and the crossbar are met, in order to produce a clearer sound when the strings are vibrating). Last, ship-guts were chosen for the strings as in the ancient lyre too (animal guts behave like elastomers, which mean that they are very flexible). Despite the fact that today strings made of steel or nylon are available (which are more durable and stable while playing music), there are quite many professional musicians who prefer gut strings because to their superior tone (Rosing, 2010). Our choice was made due to the fact that in antiquity only gut strings were available.

5.2 From the tortoise shell to the strings (a step-by-step description) First of all, everything described in this subsection took place at the same workshop, where despite the common hand tools (such as the chisel, the moisture meter, the caliper etc.) a variety of mechanical tools were also available. For the production of the “Lyre 2.0” product, the following advanced carpentry tools were used: a. a compound meter

8 Tortoise is the land turtle, while the sea-turtles are called terrapins. Soundbox was mainly made by shells from these three tortoise species native to the Ae- gean area: Testudo marginata, T. graeca and T. hermanni. The most common was the T. marginata because of its superior size (Creese 1997, p.88). 9 Timbre is also known as tone color or tone quality (at psychoacoustic sector). It is the quality of a musical note or tone, based on which different types of sound production can be distinguished (Dixon Ward, 1965). 10 According to the web source: http://www.engineeringtoolbox.com/wood-densi- ty-d_40.html. 35 shaw, b. a router, c. a band shaw, d. a drill press, e. a grinder and f. a surface planner. Moreover, we had to handicraft a few unique tools for a quicker process and better results during the manufacturing stage.

Image 19: A snapshot from the “Lyre 2.0” woodbench at the carpentry workshop.

The whole procedure began by preparing the turtoise shell to be used as a soundbox. The main issue here was the fact that the shells were found years after their previous owners had died, meaning that the carapaces were already at a late stage of decomposition. As a result, the acoustics of the shell were pretty poor to be used as a soundbox. Cyanoacrylate glue was applied at the joints of the shell’s scutes,11 making it more rigid and therefore increasing its acoustic capabilities.

11 The scutes are horny plates made of keratin, that protect the turtle from scrapes and bruises. 36 Image 20: While applying cyanoacrylate glue at the joints of a tortoise shell for improving its acoustics. At the right, the acoustics of a glued and a non-glued tortoise shell are tested.

Then, the shell was processed at the band saw, to remove the top from its bottom part. This was done in order to place the cowhide leather at the bottom of the shell.

Image 21: Removing the front part of the shell by using a band saw.

37 Before securing the cowhide leather on the shell, its bottom had to be grinned in order to be at the same level. This proved critical during the placement of the leather at the soundbox.

Image 22: Using a grinder machine to make the bottom of the shell flat.

Last, wooden fillings were added to the open sides of the shell, in order to prepare it for the placement of the cowhide leather. These all had to be done, in order for the leather to be stretched smoothly and evenly across the bottom of the soundbox.

Image 23: Adding wooden fillings to the shell for making it totally flat. 38 Next step was to cut and prepare the arms and the crossbar of the “Lyre 2.0”. Marple wood blocks were used, marked using a “guide” (prepared according to the production drawings) and cut at a band saw.

Image 24: Marking and cutting the arms and the crossbar of the instrument.

Image 25: The outcome of the previous step: two arms ready for further pro- cessing.

39 Afterwards, the arms and the crossbar had to be further treated for getting rounded edges. For a consistent and smooth result, a router was used.

Image 26: Rounding the edges of the lyre’s arms and crossbar.

Next, the arms were secured at the inside of the soundbox, before the cowhide leather could be placed firmly and evenly. Both the secure placement of the arms and the stretcing level of the leather play a key role to the sound quality of the final product. The steps above were completed by using handcrafted tools and thoroughly researched methods. Both of them cannot be shared openly yet, as the “Lyre 2.0” product is planned to hit the global market during March-April of 2014. Both of them are considered “trade secrets” of the newly founded start-up company, which will be responsible for the launching of the “Lyre 2.0”.

Then, the (almost completed) lyre was painted and polished, for a more attractive product look. A whole day had to pass before proceeding with the further production, as the paint and the varnish had to dry out. Of course, during the production of the first 100 pieces, an artificial drying method will be used.

40 Image 27: Painting and polishing the lyre, improving the product look.

Last, the tailpiece was placed at the bottom of the soundbox, and the strings were secured at it and at the tuning keys (already placed at the pre-drilled holes of the crossbar). The two secondary parts of the lyre, the hand-strap and the plectrum, were placed on the instrument before it was tuned in the myxolydian scale (one of the ancient Greek music scales, Barbera 1984).

Image 28: Placing the tailpiece, the tuning keys and the strings before tuning the “Lyre 2.0” to an ancient Greek music scale. 41 5.3 The final product (photographs) “So then, I will give you this lyre, glorious son of Zeus…” Homeric Hymn to Hermes, line 490

The production process described above was for the “Chelys” version of the “Lyre 2.0”, the most common of the lyres in ancient Greece. At the side, another version of the “Lyre 2.0” was constructed too, the “Barbiton” version that has a series of differences from the “Chelys”, some of them visually recognizable (e.g. carved arms and a thinner crossbar). Below, both the “Chelys” and the “Barbiton” version of the “Lyre 2.0” are being presented, through a series of photographs that focus on different parts of the final product.

5.3.1 The “Chelys” lyre “And he took the hollow lyre and laid it in his sacred cradle...” Homeric Hymn to Hermes, line 64

Image 29: The “Chelys Lyre 2.0”. On the right, Orpheus in Thrace is playing his chelys (Attic vase, c. 440 BC).

42 Image 30: The front view of the lyre. On the left, a closer look on the tuning keys and the crossbar with the bone fragment across it.

Image 31: The rear view of the lyre, with the hand-strap attached to the left of the lyre’s arms.

43 Image 32: A closer look at the crossbar, the tuning keys and the plectrum of the “Chelys Lyre 2.0”.

Image 33: A closer look at the details of the rear of the soundbox. The tortoise shell got again its natural color thanks to the painting and polishing stage.

44 5.3.2 The “Barbiton” lyre “Apollo, took the lyre upon his left arm and tried each string with the key. Awesomely it sounded at the touch of the god, while he sang sweetly to its note.” Homeric Hymn to Hermes, line 500

Image 34: The “Barbiton Lyre 2.0”. On the left, a woman relaxes while fingering a “barbiton” (red-figure amphora, Niobid painter, 460-450 BC).

Image 35: A close-up on the crossbar of the “Barbiton Lyre 2.0” where discreet decorative elements are shown. 45 Image 36: The rear view of the upper part of the “Barbiton Lyre 2.0”. On the left, a closer look on the tuning keys made of ebony wood.

Image 37: The rear view of the soundbox of “Barbiton Lyre 2.0”. Details of the painted tortoise shell are shown.

46 Image 38: The rear view of the “Barbi- ton Lyre 2.0”, where the hand-strap is shown on the left of the lyre’s arms. Chapter 6. Testing the “Lyre 2.0” in SoundLabs

“Now, you are free to learn whatever you please; but since, as it seems, your heart is so strongly set on playing the lyre, chant, and play upon it…” Homeric Hymn to Hermes, lines 474-475

ith two versions of the “Lyre 2.0” ready for tuning, next step was to test the quality of them as music instruments. Despite their initial positive reviews from professional musicians, a way to test the lyre in a universally accepted Wway should be found. The opportunity arose thanks to the Electronic Media Lab of the Department of Journalism at Aristotle University of Thessaloniki, where lyre’s recordings and further audio processing took place under the supervision of Dr. G. Kalliris and the PhD candidate R. Kotsakis. The aim of these tests was simple: to define in a scientific way the sound quality of the “Lyre 2.0” products, and even propose (at a later stage) possible improvements before the products’ mass production.

6.1 Inside an anechoic chamber For the needs of these recordings, both versions of the “Lyre 2.0” were brought to the Electronic Media Lab. The “Chelys” lyre was tuned in an ancient Greek music scale called “Phrygian”, while the “Barbiton” lyre was tuned in the “Lydian” scale:

Phrygian scale: E F G A B C D Lydian scale: F G A B C D E (Chalmers, 1990)

12 An anechoic chamber (meaning without echo) is a room designed to complete- ly absorb reflections of either sound or electromagnetic waves. 48 What’s more, an anechoic chamber was used for the recordings,12 along with the following equipment: a. a PHONIC PAA3 (a highly accurate audio analyzer), b. a Behringer ECM8000 measurement condenser microphone and c. a Zoom H4next stereo recorder. During the tests, a human subject was playing the lyres, one note at a time. After 1,5 hour of recordings two stereo audio files were produced, one for the “Chelys” and one for the “Barbiton” lyre.

Image 39: During the recording of the “Chelys Lyre 2.0” at the Electronic Media Lab of Journalism Department, at Aristotle University of Thessaloniki.

Image 40: During the recording of the “Barbiton Lyre 2.0” at the Electronic Me- dia Lab. 49 Subsequently, more audio files were produced by splitting each audio file to several others including each time only one note. Then, all the segmented audio files were imported into the Sonic Visualiser software (developed at the Centre for Digital Music of the Queen Mary University of London),13 an application for viewing and analyzing music audio files. Thanks to this process, the audio properties of the two music instruments were found and then compared.

6.2 The Research Hypothesis The “Lyre 2.0” product is mainly based on materials that are coming straight from the nature. And if the wood (as a material) can be handled in a strict manner, this can’t be done with the randomly discovered tortoise shells or the animal guts for the strings. Under these circumstances, it is impossible to produce two identical copies of the product, as you cannot find e.g. two identical tortoise shells to use as soundboxes. So, the question from the very beginning was whether lyres can be produced with the same sound quality, while handling materials that come straight from the nature. According to empirical observations of the final music instruments, the answer is definitely an affirmative one, as we have managed to control the natural differences between the same materials through a well designed and strictly executed manufacturing process. Empirical observation though cannot be considered as universally accepted data, so the main goal of the audio recordings at the Electronic Media Lab was to scientifically determine whether the produced lyres were similar in terms of sound properties.14

6.3 The Audio Properties of “Chelys Lyre 2.0” and “Barbiton Lyre 2.0” In this context, the spectrum of each note was computed in order to extract statistics in the frequency domain such as spectral centroid, spectral standard deviation, spectral skewness, and spectral kurtosis.15 Moreover, an energy-based feature was extracted (spectral rolloff), along with a smoothness metric for the spectrum curve (i.e. spectral smoothness). (Kotsakis et al., 2012a & 2012b) Indicatively, below are shown the figures for the recordings of the note B for both lyres (red line stands for the Chelys, while blue for the Barbiton). The figures for the rest of the notes can be found in the Appendix 2.

13 Visit the official website of this open source software at http://www.sonicvisual- iser.org 14 The audio processing discussed at this section was focused on commonly used sound properties in order the conclusions to be as much universally ac- cepted as possible. 15 Which are the main four level statistics for audio processing. 50 Image 41: Comparing the sound quality of note B between Chelys and Barbiton.

From the comparison charts above, the main conclusion that can be extracted refers to a relatively good (but not unexpected) similarity between the two lyres. In all figures, the curves follow the same pattern

51 (with small occasional deviations that are expected because of the different instruments, recordings, and playing of the lyres). Especially, the spectral spread of the “Barbiton Lyre 2.0”, is lower than the one of the Chelys in all the processed notes and the smoothness metric revealed a more “gentle” and “stable” spectrum curve. Speaking in strict scientific terms, the sound quality of the “Barbiton” is better than the “Chelys” one. That confirms the empirical hypothesis/ observation that the “Barbiton” version is an improved one, as it was constructed at a later stage of the whole procedure (after receiving the initial feedback and proceeding with all the needed actions).

6.3 Future work On the scientific sector of audio processing, many further experiments can be conducted that would lead to scientifically documented conclusions. For example, by comparing a great versatile of the produced lyres, the optimal spectrum properties of the best version of the lyre can be identified and draw the conclusion as to which materials and technical specifications to use for more efficient products (Alm et al. 2002 & Kotsakis et al. 2012a). What’s more, recordings of “Chelys Lyre 2.0” and “Barbiton Lyre 2.0” in an anechoic chamber can be used in a quite innovative way, as they can be used to digitally reproduce audio-visual events in virtual ancient Greek spaces. According to Koutsivitis et all (2005), there is a novel methodology that can “fully integrate auralization, visualization and navigation techniques for producing interactive virtual events”. The purpose behind all of this is to experience what the ancient Greek heard while attending events at well-known ancient theaters and cultural places of the antiquity. Among the already simulated spaces (by Koutsivitis et al.) are the Ancient Theater of Epidauros and the Ancient Temple of Zeus in Olympia. In brief, anechoic recordings of Chelys or Barbiton can be used in order to experience how they could be heard in an ancient theater. Such simulated recordings can be used for both improving the sound of the lyres and for promotional purposes (e.g. imagine any “Lyre 2.0” to be accompanied by a CD album under the title “Melodies in Lyre 2.0, a live album at the Temple of Zeus”).

52 Chapter 7. Conclusions & Further Research

he “Lyre 2.0” project has many more steps before its completion, which aren’t discussed here. Due to the limited extent of this thesis, I have conciously decided to focus only on its first steps and mainly on the designing and production phase of Tthe final product. The reason is simple: to have the appropriate space to describe the discussed topics at a satisfactory level. Concerning the remaining steps, I refer to them in brief at this section as “further research” (even if the majority of them are already completed). A specialized market research was conducted for modern versions of lyres (as products) worldwide, made from different luthiers. This was done to define their quality as replicas, their sound quality as music instruments, and their price range along with their current availability. In brief, the top-quality lyres are priced between 1.300 to 2.000 euros per item, and many luthiers need up to two months to deliver the product after receiving an order. Based on these data, a pricing strategy has already been decided taking into account the instant availability of “Lyre 2.0” product. What’s more, a promotion campaign is currently developed that will be centered on a series of music albums with a profesional musician recorded playing “Lyre 2.0” products. A two-month research was conducted in order to locate the few musicians able to play this ancient instrument, and a couple of weeks more to pursuade one of the top three players to start a collaboration with the “Lyre 2.0” team. At the dawn of 2014, we are working close with him to produce an instrument that will perfectly fit him (in ergonomical sense) in order to immediately start the recordings for the “Lyre 2.0”s first ever album. Additionaly,

53 recordings in an anechoic chamber will take place too, in order to prepare a “live” album using the acoustics of well-known ancient Greek theatres and cultural places (see subsection 6.3). Last, but not least, a series of “Lyre 2.0” sub-products are already in the development stage. All these products are being designed in order to create from scratch a niche market for the main product and include: a. music albums with recordings of the produced lyres, b. music textbooks for learning how to play the lyre, c. web-based video courses for learning how to play the lyre, and d. a series of simpler ancient music instruments that can accompany a lyre-player. “Lyre 2.0” products are near to be launched, and our ultimate goal is to established them as a well-known niche brand16 in the worldwide music market during 2014-15.

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57 Appendix 1. “Lyre 2.0” Production Drawings

Image 42: Production drawing of the completed “Lyre 2.0”.

58 Image 43: Production drawing of the instrument’s arms. Image 44: Production drawing of the instrument’s bridge.

Image 45: Production drawing of the instrument’s crossbar.

59 Image 46: Production drawing of the instrument’s tuning keys.

Image 47: Production drawing of the instrument’s soundbox.

60 Image 48: Production drawing of the instrument’s tailpiece.

61 Appendix 2. Audio Properties of “Chelys” & “Barbiton” lyre

Image 49: Comparing the sound quality of note C between Chelys and Barbiton.

62 Image 41: Comparing the sound quality of note D between Chelys and Barbiton.

63 Image 49: Comparing the sound quality of note F between Chelys and Barbiton.

64 Image 41: Comparing the sound quality of note G between Chelys and Barbiton.

65